LOOK INTO MY EYES explores human the conduits for our grief
by Sasha Ravitch, Staff Writer
Look Into My Eyes is an irresistible siren song calling you into a cliffside of nearly intolerable empathy and emotional catharsis.
RED ROOMS turns the lens on our desire to watch horror
by Tori Potenza, Staff Writer
Red Rooms is a methodically crafted movie that uses all the elements at its disposal to put you in a state of unease.
OFF RAMP is an endearing juggalo buddy comedy that should have stayed on more proven roads
by Joe Carlough, Staff Writer
All in all, whether you’re a juggalo, merely a juffalo poser in your shiny new ICP gear, or totally outside the scene altogether, there’s something for you in Off Ramp.
I'LL BE RIGHT THERE is a shallow story, wasting gifted actors
by Christine Freije, Staff Writer
’ll Be Right There gives us a rosy picture of motherhood’s trials and tribulations, but Edie Falco has no character, plot, or moral grey areas to sink her teeth into.
MY FIRST FILM is a hyper-meta look at the collaborative process
by Kate Beach, Staff Writer
My First Film is a hyper-meta look not just at the art of filmmaking, but the act of making anything with anyone.
HOARD is an audacious, uncompromising debut feature
by Carmen Paddock, Staff Writer
Carmoon possesses a genuinely unforced comfort with the weird which comes through candidly in her uncompromising debut feature Hoard.
Nothing in CHARLIE TANGO is enough to redeem it
by Susan Keiser, Staff Writer
Charlie Tango is 98 minutes of unlikeable people doing unlikeable things.
Knees weak, De Palma sweaty: A review of THE DE PALMA DECADE
by Nikk Nelson, Staff Writer
For anyone looking to be introduced to Brian De Palma, I would wholeheartedly recommend The De Palma Decade.
WOLVES AGAINST THE WORLD is an expose on monstrous heartbreak
by Sasha Ravitch, Staff Writer
Wolves Against the World invites us to investigate how we mourn the people we love when they change in ways we simply cannot accept or refuse to acclimate for.
CITY OF DREAMS is too preachy to be effective
by Gary M. Kramer, Staff Writer
City of Dreams never aims for subtlety, which is its biggest failing.
FRIGHTFEST 2024 brought show stopping horror flicks to London
by Tori Potenza, Staff Writer
In between delving into English culture by eating fish and chips and learning what a “butty” is, I still watched a whole bunch of movies.
THE FALLING STAR is reminiscent of silent film and golden-age hoofers
by Rosalie Kicks, Old Sport & Editor in Chief
For those of us that seek something off the beaten path, The Falling Star is the type of picture we fall for.
FRIGHTFEST 2024 is a horror film fan's paradise
by Tori Potenza, Staff Writer
Nothing beats coming out of a theater and hearing the reactions of your friends and getting to dig into the details of each of the movies you have just seen.
SATRANIC PANIC shows how trans joy is possible despite demons
by Jo Rempel, Staff Writer
If Satranic Panic never quite makes sense (there are some abrupt shifts in characterization around the third act that get brushed off by the end) it’s because genres are best when they flaunt reality.
CHUCK CHUCK BABY queers the quirky British dramedy
by Kate Beach, Staff Writer
Chuck Chuck Baby is a sweet, gentle queering of British family dramas that invites its audience to jump in and sing along.
THE EXORCISM OF SAINT PATRICK is a quiet descent into an all-too-real hell
by Samantha McLaren, Staff Writer
The film’s title might be reminiscent of a dozen jumpscare-laden knock-offs of The Exorcist (dir. William Friedkin, 1973), but The Exorcism of Saint Patrick is more concerned with letting us get to know Pat and Trick than it is with raising the viewer’s heart rate.
THE CROW is a confused film that gets stuck in its own mud
by Kate Beach, Staff Writer
A complete lack of energy plagues The Crow from its bizarre opening scene.
LORE is a fun low budget horror anthology to kick off spooky season
by Jill Vranken, Staff Writer
Lore has a number of good things going for it - most importantly, it is impressive what the filmmakers achieved with their budget, showing that you don’t need masses of studio money to bring good scares to the screen.
BLINK TWICE posits the best way to bring down our patriarchal culture
by Megan Bailey, Staff Writer
The twists and turns kept me locked in throughout Zoë Kravitz’s directorial debut.
CATCHING DUST is moody, but limited by its archetypical characters
by Megan Robinson, Staff Writer
Catching Dust leaves too much for the mind to imagine, making what could be thoughtful and interior character studies into opaque misfires with much to be desired.