Folk horror meets pop glamour in MOTHER MARY

Film

Director David Lowery is not exactly known for broad films that appeal to the masses. So there’s some irony in the fact that Mother Mary is – on paper – Lowery’s most commercial film. It features Anne Hathaway as a pop star, a soundtrack from Charli XCX and FKA Twigs, stunning gowns, and centers on the dissolution of a female friendship. It’s appealing and relatable in concept, but surprisingly, Mother Mary may turn out to be Lowery’s most polarizing film yet.

How HAMNET sticks the landing

Film

I went into Hamnet cold, aware from the awards-circuit rumors that I could expect a lot of crying, but knowing little else. When I showed up for a screening at the Toronto International Film Festival at 8 in the morning, surrounded by exhausted festival-goers who were running on caffeine fumes and a steady diet of 5 films a day, I half expected I’d struggle to stay awake.

BRING HER BACK joins the Grief-Horror Assembly Line

Film

After Danny and Michael Philippou’s electrifying debut Talk To Me (2022) redefined possession horror with its brilliant blend of anxiety and supernatural dread, anticipation for their follow-up reached considerable heights (at least they did for me). Bring Her Back shoulders the burden of that promise—and unfortunately, shows just how tough it can be to follow a breakthrough first film.

Wolf Man Can’t Teach an Old Dog New Tricks

Film

When Leigh Whannell helmed The Invisible Man in 2020, he transformed a century-old monster story into a searing commentary on domestic abuse and gaslighting. His contemporary reimagining of an abusive man who can’t be seen proved that sometimes horror is most terrifying when it doesn’t feel supernatural at all. With Wolf Man, Whannell faces an even steeper challenge – and unfortunately, this time the transformation isn’t quite as complete.

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