REVIEWS

More evaluative analyses of new (and re-) releases, revivals, restorations, and other notable films
REVIEW

(Matt Vesely, Australia, 2022)

BY JOSÉ TEODORO  |  February 16, 2024

A public case of professional disgrace has driven a journalist (Lily Sullivan) to hide out at her parents’ vacant, sprawling country home. But the young woman, credited simply as “the interviewer”—we learn her subjects’ names but never her own—refuses to be defeated.

REVIEW

Arrebato (Rapture)

(Iván Zulueta, Spain, 1979)

Birthed during the cultural thaw that immediately followed the end of the Franco dictatorship, Basque writer-director and designer Iván Zulueta's 1979 feature Arrebato erupts like a massive discharge of so much repressed anxiety and despair.

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BY  LAURA KERN  |  Month 00, 2021

GUIDE | MODERN SLAYERS

Beast

(Michael Pearce, UK, 2017)

Beast is a lot of movies in one package - fractured fairy tale, belated-coming-of-age story, psychological drama, regional horror film - but above all it's a calling card for its leading lady, Jessie Buckley.

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BY  STEVEN MEARS  |  Month 00, 2021

REVIEW

Humongous

(Paul Lynch, USA, 1982)

In what could be the fastest-resulting rape revenge movie, a drunken lout brutally forces himself on Ida, the young woman who doesn't return his affections, during a party over Labor Day.

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BY  LAURA KERN  |  Month 00, 2021

GUIDE | MODERN SLAYERS

Beast

(Michael Pearce, UK, 2017)

Beast is a lot of movies in one package - fractured fairy tale, belated-coming-of-age story, psychological drama, regional horror film - but above all it's a calling card for its leading lady, Jessie Buckley.

READ MORE >

BY  STEVEN MEARS  |  Month 00, 2021

REVIEW
(Iván Zulueta, Spain, 1979)

Produced during the cultural thaw that immediately followed the end of the Franco dictatorship, Basque writer-director and designer Iván Zulueta’s 1979 feature Arrebato erupts like a massive discharge of so much repressed anxiety and desire.

BY JOSÉ TEODORO  |  October 31, 2021

REVIEW
(Zach Cregger, USA, 2022)

Lately, the art of crafting a subtle and captivating movie trailer feels lost. But the official trailer for Barbarian not only grabs your attention, it also manages to reveal the film’s critique of gender dynamics while keeping the main story line hidden from view.

BY KATIE SMALL  |  October 3, 2022

REVIEW
(Laura Moss, USA, 2023)

The influence of Mary Shelley’s Frankenstein on motion pictures can be traced back to the early years of cinema, and reanimating the dead has since grown into one of horror’s most beloved staples. Laura Moss’s exquisite feature debut is the latest homage to the timeless mad-scientist...

BY LAURA KERN  |  August 18, 2023

REVIEW
(Ted Geoghegan, USA, 2023)

One of the most revelatory film experiences of my childhood was watching Alfred Hitchcock’s Lifeboat with my grandparents when I was 10. I can’t remember the exact circumstances—I believe it ran on PBS some lonesome Friday...

BY WILLIAM BOYLE  |  June 9, 2023

REVIEW
(David Prior, USA/South Africa/UK, 2020)

There is a lot of misdirection in David Prior’s ambitious, scary, and exhilaratingly convoluted The Empty Man. For its first 20 minutes it plays like lost-in-the-wilderness adventure horror, following a group of American friends...

BY MICHAEL KORESKY  |  October 31, 2021

REVIEW
(Mark Jenkin, UK, 2022)

It is springtime 1973, and the days are bright on a small island off the coast of Cornwall. A horticulturist (Mary Woodvine), known only as the volunteer, is the island’s sole inhabitant. Or is she? 

BY JOSÉ TEODORO  |  March 28, 2023

REVIEW
(Damon Packard, USA, 2018)

The TV is always on in Fatal Pulse, the most recent release from underground horror legend Damon Packard. Set in 1991, Packard’s 2018 film is drenched in pinkish-bluish gel lighting, a movie-world glow...

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BY CHLOE LIZOTTE  |  October 31, 2021

REVIEW
(Léa Mysius, France, 2022)

A witchy tale of time travel, young love, and sporty women, Léa Mysius’s sophomore feature is an entrancing puzzle film anchored by compelling performances. Set in a small French town nestled within a mountain...

BY MARGARET BARTON-FUMO  |  May 18, 2023

REVIEW
(Chito S. Roño, Philippines, 2017)

Marriage and remarriage have forever been prominent motifs in the comedy genre. But with matrimonial success rates not exactly encouraging in much of the world, and divorce illegal in the Philippines...

BY LAURA KERN  |  March 14, 2022

REVIEW
(Michelle Garza Cervera, Mexico/Peru, 2022)

Often considered a sacred rite of passage, pregnancy is an aspirational, much-coveted physical state for women the world over. For many, it’s the most significant time of their life...

BY MARGARET BARTON-FUMO  |  February 10, 2023

REVIEW
(Kurtis David Harder, USA, 2022)

The word alone induces twinges of dread and disgust: “influencer,” along with its evil siblings “vlogger,” “social media personality,” “YouTuber,” and “TikTok sensation,” have made our depreciating society even grimmer.

BY LAURA KERN  |  May 25, 2023

REVIEW
(Eskil Vogt, Norway, 2021)

As The Innocents opens, a family of four are in the car headed to a new home. In the back seat sit two sisters: the lightly freckled Ida (Rakel Lenora Fløttum), her intense stare much older than her 9 years, pinches her...

BY LAURA KERN  |  May 13, 2022

REVIEW
(Pete Ohs, USA, 2022)

A stalker situation gone berserk; a cursed trailer home situated in the flat vastness of chilly, rural New Mexico; a provocative, post-coital admission of murder: Jethica would seem...

BY LAURA KERN  |  January 13, 2023

REVIEW
(Mark Mylod, USA, 2022)

With his cold, enigmatic handsomeness and piercing blue eyes, Ralph Fiennes was meant for villainy. His magnetic portrayal of the execrable Nazi butcher Amon Goeth in Schindler’s List...

BY LAURA KERN  |  November 18, 2022

REVIEW
(Nikyatu Jusu, USA, 2022)

Nanny begins with Aisha (Anna Diop) asleep. Shadows, undulations, and a spreading dampness affect her bedclothes, while a spider makes an entrance just as Aisha wakes with a start.

BY JOSÉ TEODORO  |  November 21, 2022

REVIEW
(Alex van Warmerdam, Netherlands/Belgium, 2021)

From its opening image of ocean waves stuttering slowly behind a sheet of steely rain to its final vista of human detritus turned into cosmic junk...

BY JOSÉ TEODORO  |  December 9, 2022

REVIEW
(Sébastien Marnier, France/Canada, 2022)

It’s often said that you can pick your friends but not your family. Yet in an age of mass communication, it’s never been easier to track down an absentee dad or quietly unfriend...

BY VIOLET LUCCA  |  October 8, 2023

REVIEW
(Andrew Cumming, UK, 2022)

Clocking in at a swift 87 minutes, Andrew Cumming’s feature debut is a slick, beautiful genre piece best suited for the big screen. Partially reminiscent of Jean-Jacques Annaud’s...

BY MARGARET BARTON-FUMO  |  February 9, 2024

REVIEW
(Ti West, USA, 2022)

This past March, X, Ti West’s gleefully raunchy hybrid of two late-’70s subgenres (farmhouse horror and farmer’s-daughter porn), overachieved in four meaningful ways.

BY STEVEN MEARS  |  September 19, 2022

REVIEW
(Iuli Gerbase, Brazil, 2021)

Brazilian writer-director Iuli Gerbase’s debut feature begins with the whole of humanity being forced indoors by a pervasive vapor as deadly as it is seemingly innocuous.

BY JOSÉ TEODORO  |  March 1, 2022

REVIEW
(Yorgos Lanthimos, USA/UK/Ireland, 2023)

A philosophically infused coming-of-age tale and Victorian-era fantastical travelogue with overt nods to both Frankenstein and The Island of Dr. Moreau, Yorgos Lanthimos’s Poor Things is...

BY JOSÉ TEODORO  |  December 8, 2023

REVIEW
(Bertrand Mandico, France/Luxembourg/Belgium, 2023)

Sweeping across centuries and continents to track the Orlando-like incarnations of its titular barbarian, French writer/director Bertrand Mandico extravagantly extrapolates on...

BY JOSÉ TEODORO  |  January 30, 2024

REVIEW
(Charlotte Colbert, UK, 2021)

An intriguing slice of Gothic psychological horror, She Will follows Veronica Ghent, an aging, high-maintenance, pill-popping ex–movie star recovering from...

BY KATIE SMALL  |  July 19, 2022

REVIEW
(Kyle Edward Ball, Canada, 2022)

We go to the movies to see ghosts, whether they be the likenesses of long-gone actors, objects, or edifices, or the suggestion of specters imprinted in the gloom...

BY JOSÉ TEODORO  |  February 2, 2023

REVIEW
(Christian Tafdrup, Denmark, 2022)

The English title of Christian Tafdrup’s third feature initially reads as a strategy to draw horror fans, a pleading form of genre assurance that the film’s anodyne original Danish title, Gæsterne...

BY JOSÉ TEODORO  |  September 12, 2022

REVIEW
(Paul Vecchiali, France, 1970)

When Paul Vecchiali passed away early this year at the age of 92, he left behind a prolific legacy of films. An established director and the founder of the progressive production company...

BY MARGARET BARTON-FUMO  |  November 15,  2023

REVIEW
(Chloe Okuno, USA, 2022)

The toxicity of the male gaze has rarely been depicted on-screen with such chilling intensity as in Chloe Okuno’s debut feature Watcher. A refreshing take on the apartment thriller genre...

BY YONCA TALU  |  June 24, 2022

REVIEW
(Sean King O’Grady, USA, 2021)

In late 2001, my girlfriend and I moved from New York to Austin, Texas. We had some friends who’d recently gone down there and we’d never been away from New York.

BY WILLIAM BOYLE  |  October 31, 2021

REVIEW
(Jane Schoenbrun, USA, 2021)

I haven’t seen Jane Schoenbrun’s first feature, a 2018 documentary entitled A Self-Induced Hallucination.

BY JOSÉ TEODORO  |  April 20, 2022

REVIEW
(Vincent Grashaw, USA, 2022)

The enduring allure of Southern Gothic seems inextricable from the biblical entropy that haunts its storytelling, segregating it from the vagaries of time and culture wars like an oppressively...

BY JOSÉ TEODORO  |  August 8, 2022

REVIEW
(Demián Rugna, Argentina, 2023)

The title of Demián Rugna’s new horror opus is something of a misnomer: moving at a swift pace over the course of 99 minutes, When Evil Lurks lurches right into motion rather than lurks.

BY MARGARET BARTON-FUMO  |  October 30, 2023

REVIEW
(Kate Dolin, Ireland, 2021)

Stories told within the framework of family drama can sometimes resemble folklore—digressive, dark, suspiciously elliptical, patent fabrications that only bear hints of an ancient...

BY VIOLET LUCCA  |  March 25, 2022

REVIEW
(Demián Rugna, Argentina, 2023)

The title of Demián Rugna’s new horror opus is something of a misnomer: moving at a swift pace over the course of 99 minutes, When Evil Lurks lurches right into motion rather than lurks.

BY MARGARET BARTON-FUMO  |  October 30, 2023

REVIEW
(Kate Dolin, Ireland, 2021)

Stories told within the framework of family drama can sometimes resemble folklore—digressive, dark, suspiciously elliptical, patent fabrications that only bear hints of an ancient truth that has since been lost to time. These two similar, alternately revealing and bewildering genres contain stories...

BY VIOLET LUCCA | March 25, 2022