Gustav Möller’s “The Guilty” is a devastating drama, where the scarcity of tools used to tell the story excavates its true worth.
Continue reading “A Confession Over The Phone – The Guilty (2018)”
Although “Blaze” is essentially a biopic, it blossoms into a charming, nicely executed love story with a deeper meaning and a picture of the American wintry blues.
Continue reading “Blaze (2018) Captures The Undeniable Charm Of Country As A Way Of Living”
Luca Guadagnino’s wet dream of becoming a “grand auteur” hit into a brick wall of “Suspiria” – suspense-lacking, glaringly ill-inspired and simply boring remake of Dario Argento’s masterpiece.
Continue reading “Suspiria (2018) Is Luca Guadagnino’s Opus Minimus”
It takes an incredible amount of anti talent to create a film so bland, so deeply unattractive and frantic as “Dollhouse: The Eradication of Female Subjectivity from American Popular Culture”.
Continue reading “Dollhouse (2018) Joins The Noble List Of The Worst Of The Year”
Not many filmmakers are capable of dividing the audiences as much as the Grand French Provocateur – Gaspar Noe.
Continue reading “Climax (2018) – Sex, Drugs, Rock & Noe”
“Ederlezi Rising” is a Serbian science fiction film, where in-your-face sex scenes and story’s crudeness blend with audiovisual experience inspired by “2001: A Space Odyssey”.
Continue reading “An Android Love Story – Ederlezi Rising (2018)”
The director of “Dread” and “Last Shift” has made a little effort to turn his newest film “Extremity” into a worthwhile watch.
Continue reading “Extremity (2018) Needed Less Skeleton Masks And More Plot”
Fasten your seatbelts, because Gareth Evans has produced a deeply disturbing mixture of horror genres.
Continue reading “Apostle (2018) Unravels A Wicked Cult”
“High Life” is an audacious take on science fiction, mixing drama and horror in a unique, a tiny bit perverted way.
Continue reading “Is High Life (2018) The Most Divisive Film Of The Year?”
As far as horror comedy goes, “The Mansion” is one that’s lampooning every genre cliche possible. However, while doing so, it implements such a heavy kind of humor that the screening quickly turns into a bore.
Continue reading “A Regrettable Knee-Slapper – The Mansion (2017)”
Jeremy Saulnier’s “Hold the Dark” incorporates all the grittiest concept cinema knows, but unlike his two previous films, it’s the least impactful and engaging one.
Continue reading “A Haunting In Alaska – Hold the Dark (2018)”
Although a decent effort on the executive level, “Mara” never leaves its own comfort zone of being “just another horror movie in 2018”.
Continue reading “The Nightmare In Your Sleep – Mara (2018)”