There’s a small subgenre of horror films that I like to call the descent-into-madness film. It’s a tried and true, from Fuller’s Shock Corridor to Aronofsky’s Black Swan to Kon’s Perfect Blue, and when it’s done right it can be as unsettling and mesmerizing as the goriest Italian Giallo. These films do run the risk …
Movies and sitcoms often throw around the term “dysfunctional family” like a sort of cute tagline to describe a quirky, semi-likable bunch of characters who occasionally don’t get along; the relatable sort of family strife you can digest along with your dinner. But Hereditary uses horror and the supernatural as a springboard for a more disturbing portrayal of dysfunction.
This year’s Atlanta Film Fest was easily the best I’ve been to in years, and featured some truly exceptional feature and short films. In addition to the full reviews and the best shorts of the fest, I figured it was worth doing quick takes on every movie I caught at the festival.
Perhaps my favorite thing about going to film festivals is the unique opportunity to see short films. Shorts are such a wonderful format for telling a story and are often more engaging and memorable than their feature counterparts. This year at the Atlanta Film Festival I had the opportunity to see over …
BLAME tackles some tricky subject matters with nuance and emotion. It’s a strong, if messy, debut film from Quinn Shephard.
SECURITY gives Antonio Banderas his shot at the ‘weathered old man’ action genre. How does this action icon fare?
BPM (Beats Per Minute) is a timely and vital look back as the wave of LGBT Rights protests in the 80s and 90s, paired with deeply felt personal drama.
Harry Dean Stanton is an icon among character actors. It is fitting that LUCKY gave him a chance to shine as a leading man before his death.
The Honor Farm looks like a horror movie, but what it actually ends up being is a surprisingly sweet coming-of-age story in spooky clothes.
If you had asked me before I saw this, I would have named GERALD’S GAME as an unadaptable story. Mike Flanagan has proved me wrong.
COLUMBUS is a heartfelt drama about family, loss, and the future. As a debut film from essayist Kogonada, it is a small miracle.
INGRID GOES WEST is a biting satire of social media influencer culture with a killer cast. So why doesn’t it quite come together?
LADY MACBETH is a sophisticated picture of race, gender, and power, in the form of a melodrama set in 19th century Scotland.
You don’t have superhero movie fatigue. You have superfranchise fatigue. The modern franchise is enormous, unwieldy — and too big to fail.
ATOMIC BLONDE attempts to recreate the JOHN WICK magic with Charlize Theron in the lead. Can David Lietch make lightning strike twice?
