THE TRIAL OF THE CHICAGO 7 (2020)
“packs a dramatic punch while coyly slipping in some wry humor”
Read MoreHARPOON (2019)
“whole thing is wildly “WTF?!”, but conceptually it was vaguely interesting”
Read MoreTHE WRATH (2019)
“reliance on jump scares when some of the mood setup is creepily effective was a mistake”
Read MoreA SERIAL KILLER'S GUIDE TO LIFE (2020)
“helma and Louise by way of Fight Club, with the lightest dusting of a God Save America sprinkled on top.”
Read MoreGRETEL & HANSEL (2020)
“all icing, rich, decadent and lavish, but merely empty topping on a bland and un-enticing cake”
Read MoreLUZ (2019)
“evocative “retro fantastique”, but with a dour european oppression”
Read MoreBLOOD VESSEL (2020)
“vampires on a Nazi ship that must be fought off” is what was promised and is exactly what they gave you
Read MoreBIT (2020)
‘Female empowered vampires that keeps the genre fresh and femme”
Read MoreSWALLOW (2020)
“A modern young June Cleaver lost in the swallowing void of upper crust emptiness”
Read MoreBECKY (2020)
A Joker for tween girls
Read MoreDOGS DON'T WEAR PANTS (2019)
“beautiful moments of palatable pain and tangible tenderness”
Read MoreVEROTIKA (2019)
“no tongue to put in cheek because it has been cut out”
Read MoreDEEP BLUE SEA 3 (2020)
“I am saying it’s worth taking a bite out of”
Read MoreCRIP CAMP (2020)
“truly grapples that cold hollow walnut that I call a heart”
Read MoreWRATH OF SILENCE
“Its action is vital and naturalistic”
Read MoreTHE COURIER (2019)
“might pass your time, but you wouldn’t be out of bounds to just pass it by”
Read MoreWHY DON'T YOU JUST DIE! (2020)
“ballsy violent expressionism”
Read MoreSPUTNIK (2020)
“smooth and classy seemingly decent budgeted Russian sci-fi that has a serious half of a problem”
Read MoreFEELS GOOD MAN (2020)
“the symbiosis of ideas and the Internet”
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