Horror – primarily quality horror - has undergone major changes over the past decade in its approach to depicting the age-old conflict of man versus the Other. ...
The first thing to announce itself in The Second Mother is an insistence on never losing sight of Val (Regina Casé), the maid, chef, and occasional surrogate pa...
Violence is a true horror in No Escape, a gripping microcosm of inhumanity set during a brutal coup d’état. Director John Erick Dowdle has a knack for placing a...
Let it be so, 2015 is the year of EDM (Electronic Dance Music) in film. Earlier this summer, we were given Eden, a little-seen but much-loved chronicle of a Fre...
Apparently kids from Baltimore to County Durham to Auckland have the same problem: parents just don’t understand. So little has changed since Will Smith and DJ ...
Lily Tomlin has had more than just one “role of a lifetime” in her filmography, but in writer/director Paul Weitz’s Grandma she’s given the type of project that...
While watching The Mend, the debut feature from writer-director John Magary, I was often reminded of a favorite point from Roger Ebert’s review of Pulp Fiction....
From its first few shots, it's clear that American Ultra is removed from the relatively grounded drama of Greg Mottola's underrated Adventureland, the last film...
The freewheeling, frothy tone of Guy Ritchie's The Man from U.N.C.L.E. fits in perfectly with what has, so far, been a year full of light-as-air spy films. Jame...
In the acerbic indie comedy Fort Tilden, Brooklyn denizens Harper (Bridey Elliott) and Allie (Clare McNulty) prepare for a day at the Rockaways, where they plan...
