Peace reigns between Terrorists and Policemen, in a secluded and strange Hotel. Useless for the first time, they fight against boredom while the world around them slowly crumbles.
By having two of its most beloved characters go to space in a Pontiac Fiero attached to a rocket, among other antics, F9: The Fast Saga overwhelmingly achieves the task of out-crazy-ing its predecessors.
An artistic approach to the impact of Billie Holiday’s “Strange Fruit”.
Many have interpreted Maya Deren’s Meshes of the Afternoon as a dream sequence, but what if the repetitive scenes we are given are not dreams but, a time loop.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
Nightbooks, the newest entry in children's horror, honors classic horror films, focuses on themes of acceptance, and has awesome production design.
John Fawcett’s "Ginger Snaps" intertwines the lore of the werewolf to the hellish experience of a young girl going through puberty.
