POSSESSOR (2020)
“Possessor strikes me as the kind of understated brilliance that will be looked back upon as staggering and seminal”
Read MoreSONIC THE HEDGEHOG (2020)
“If only this Sonic movie could have raced a little faster to the finish”
Read MoreKILLERS WITHIN (2019)
“its main selling point is the reptillians”
Read MoreVIOLENCE VOYAGER (2019)
“a little succor at the sinewy teat of the strange”
Read More#ALIVE (2020)
“An otaku gets stuck in his apartment during the zombie apocalypse”
Read MoreTHE HOLE IN THE GROUND (2019)
“Hole is an enticing creeper that gives a little too much away”
Read MoreTHE SPECIAL (2020)
“Spoilers: it’s a movie about a mysterious box that men put their penises in”
Read MoreCUTIES (2020)
“never done to aggrandize or proliferate, but to recognize, analyze, and critique that penchant within our modern world to precipitantly plant the mature despite its harmful fruit”
Read MoreCOUNTDOWN (2019)
“tagline into movie” and that is it
Read MoreTHE 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”
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