Man Underground (2016)
Don't Think Twice (2016)
The Neon Demon (2016)
"Pandemic might just strike you as a supremely tense, misanthropic, and immersive ride into a post-millennial sense of hopeless beleaguerment - if you have been living in a cultural vacuum for the last 15 years... "
"Preoccupied with the haunting of both an individual and a community, Anguish has its creepy moments - but these are offset by an autumnal lyricism, and a focus on the interplay between Tess' teen alienation and her fraught attempts to find her place."
Hail, Caesar! (2016)
Swiss Army Man (2016)
The Price We Pay (2015)
Rams (Hrútar) (2016)
The Cabin in the Woods (2012)
Sleeping Giant (2015)
Black Mass (2015)
"Artistic and accessible, it's another bravado performance by Jake G, a sterling film by Vallée, and an all around impressive look into grieving from a very different and occasionally difficult perspective."
"hangs its story on multiple hooks, before twisting in its final killer blow and hammering it home. You may well see it coming - although perhaps not in every detail - but Lando is certainly deft in handling the many modalities of this material."
"entrapping characters and viewers alike in an awaited possibility of escape that is repeatedly frustrated, this sick psychodrama sets city against country, North against South, and blood against blood, while dismembering family values along the way."
The Lazarus Effect (2015)
"makes no great claims on originality, although it does rewire its source materials into something ever so slightly different, while following the Blumhouse formula of contained creepiness and slickly packaged jump scares. "
Summer Camp (2016)
"Unfolding with the same sense of paranoid derangement as the infection whose ravages it observes, Summer Camp remains deft in its pacing and endless narrative surprises even as its characters become increasingly hobbled by a succession of injuries."
These Final Hours (2015)
Scherzo Diabolico (2015)
"As a thriller it's well-tempered and taut... Yet it is as Oedipal drama, where the tragic trajectory of one person's rise comes only with the destruction of the boss/father, that Bogliano's film finds its strongest (and subtlest) sociopolitical grip."
Road Games (2016)
"Even if you manage to disentangle the many twists relatively early on, there is still pleasure to be had here in witnessing how Pastoll's bilingual screenplay allows crucial giveaways to get lost in translation. "
Another Me (2014)
"plays out all the expected tropes of a doppelgänger film in a dreamy haze, while leaving it for the viewer to decide whether this divided self is a real spectre dogging Fay, or a mere metaphor for her anxieties about coming of age."
"Rose's focus is more on the story's tragic elements, while his updating accommodates all kinds of commentary on the gulf between the beautiful, privileged people of Hollywood and the alienated, overlooked underclass just down the road. "
Contracted: Phase II (2015)
"an affectionate skewering of coming-of-age tropes, metal culture and New Zealand mundanity, where the blood-splattered, head-severing end of the world proves utterly endearing. Death to false metal! "
Some Kind of Hate (2015)
The Taking (2013)
"Here we see a broken Britain dominated and drained by a self-appointed élite of financial bullies, and a working populace whose hard-earned capital seems always to drift out of their hands to the undeserving and the corrupt. "
Zombie Fight Club (2015)
"a problematic cavalcade of uncomfortable male fantasies (and their punishment), but there is something to its anything-goes insanity that proves irresistibly infectious, especially at the midnight hour."
The Sand (2015)
"Where Spring Breakers turned the ephemeral rites de passage of horny, drugged-up college students into a melancholic mantra of excess and mortality, from the same essential ingredients Isaac Gabaeff's The Sand weaves a dumb-assed creature feature "
The Entity (La Entidad) (2015)
Bloodsucking Bastards (2015)
"Brian James O'Connel's Bloodsucking Bastards is a corporate comedy where the new-hires are also vampires, but remain, for all the occasional big-stake takeovers or explosions of blood, more like metaphors for a certain model of middle management."
Cherry Tree (2016)
"You may go in... hoping for the baroque irrationality of Dario Argento's Suspiria, the stylised mother of all witchcraft movies, but what you get instead is something closer to the shrill silliness of Suspiria's belated sequel The Mother of Tears. "
The Reflecting Skin (1990)
"Ant-Man is, well, OK, and maybe that's enough. I wanted more, and those moments where it looked like I was going to get it, only to have things not quite come to fruition, makes the film as frustrating as it is enjoyable."
"Definitive telling of Billy S's play this may not be, but as an entertaining/effective variation upon them it's a remarkable work. With visuals as dark and brooding as its titular character, it stands well alongside its peers while carving its own path."