I'm not a particular fan of modern musicals, which has more to do with my personal taste in music than any objective dismissal of their relative merits.
A friend of mine is fond of applying the phrase "a wolf in sheep's clothing" to genre films.
A teenage girl in love with a teenage boy plays a cryptic game. A twenty-something woman goes about her rounds as a real estate agent in a depressed market, then visits her younger sister, a depressed artist.
Nicely-demented, Daniel Stamm's 13 Sins functions best as a gruesome thriller with a sense of humor.
From Honeymoon's opening montage of our newlywed couple reminiscing about falling in love, you might think you are settling in for romantic drama about the challenges of starting a life together. You'd be wrong.
For the first hour or so, Mitchell Altieri's Holy Ghost People is a tense backwoods thriller centered around a small charismatic Christian community somewhere in the Appalachian mountains.
They are misunderstood and stigmatized. They live under a cloud of fear and suspicion. They are subject to physical and verbal assaults. They fear that the supply of the drug that keeps them alive will soon run out.
Bold, beautiful and utterly bonkers, Ben Wheatley's A Field in England is a mind-bending monochrome masterpiece likely to alienate as many as it seduces with its surreal visuals and delightfully deranged performances
Stuart Beattie, who made his directorial debut with 2010's Tomorrow, When the War Began, delivers what amounts to a simplistic, spiritual sequel to that film, even though he has stepped over into an extension of the