‘Lyle’, Cool Concept, Poor Execution.
The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.


After Danny and Michael Philippou’s well-received debut, Talk to Me, they released another thrilling horror film this year: Bring Her Back. Like Talk to Me, it's essentially the trust and bond between friends and family members that are at stake.
We see things through the point of view of a pair of stepsister and brother: 17-year-old boy Andy and Asian girl Piper, who is visually impaired. They found their father dead after a stroke in the shower. This vision—therefore, Piper was less mentally harmed—haunted Andy throughout the film. Their bond is the most touching element in the film. Even though they don't share the same biological mother or father, it’s their care and love for each other that support them through the loss of their father. The portrayal of their bond is natural: from their bickering with inappropriate jokes at the beginning to their secret code “grapefruit” as a code for “being honest.”
Besides the visual body horror, the biggest element in horror is the step-siblings’ new guardian, Laura, played by the brilliant actress Sally Hawkins. At first, her role is extra-friendly with an ounce of ambiguity and eccentricity. As a former counsellor herself, she used her tactics to get close with Andy to get the information she wanted and then used the information to break the trust between Andy and Piper. Even though they’re children, they would be only truly defenseless after they lost each other and in isolation. Her fabricated psychoanalysis of Andy is one of the most frustrating scenes in the film.When Andy told the agency that the other fostered child, Oliver, was actually a missing child, the social worker revealed that Laura was a former counsellor at the same agency, which was a chilling twist.
This is not the first time we see the role of therapist/counsellor as a supervising role of threat instead of being someone who we can undoubtedly trust the most. In Ari Aster’s surrealist horror film, Beau Is Afraid, the therapist of the protagonist was revealed at the end to be bought off by his mother and give out his personal information. Along with the popularity of therapy sessions for the public, the fear of betrayal and exposure from the person you trust to regularly talk about your deepest emotional turmoils seems to increase as well. Laura was also in the position of new guardian mother: the external horror invaded Andy and Piper’s two-person family, becoming an internal threat.

Following the death of their father, a brother and sister are sent to live with a foster mother, only to learn that she is hiding a terrifying secret.
The idea of Rosemary's baby but with lesbian partners drew me in, and I was anticipating what the film had in store with its reimagining. Unfortunately, it all felt a little too vague to leave an impact.
Like Fourth of July fireworks, the film Honey Don’t is colorful and fun to look at, delivering many bangs (sex and guns!) for your buck before quietly fading out.
It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
This is a Spanish-speaking short film that contains English subtitles. The short film is produced in the United States.
With so many binge-worthy TV shows floating around and new ones constantly being released, I have compiled a list of some more recent TV shows that rank high on the diversity scale for both the cast and crew.