Caught in the Rapids (1921)

Mark Anthony Green was unable to connect all of the pieces in his debut feature film, leaving Opus as a middling entry in an already oversaturated genre.

Omaha reminds us of what it can feel like to look at old family photographs.  You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it. 

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This is ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.

We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.

Is God Is tells a harrowing tale of retribution, sisterhood, and gender based violence. Far too eerie and clever to be an ordinary slasher, but too gory and merciless to be an ordinary thriller, Is God Is will appeal to the highbrow horror lover with generational trauma anywhere.