In Settsu Province, young women related to castle steward Tanaka Shūzen are being killed, each with fang-like bite marks on their chests. The priest Chinen suspects a vengeful plot. The next targets could be Shūzen’s daughter Myō or her fiancé Iori’s sister, Matsue. Despite Iori’s vigilance, Matsue is attacked by her koto teacher, Yamamura Kengyō, and his daughter Kaede—who are revealed to be vengeful vampires.
"The Platform" is horror and science fiction film doubling as a visual commentary on capitalism and economic inequality. The movie is not for the faint of heart nor the viewer hoping for political neutrality in their film's depth.
I’m disappointed in The Woman in Cabin 10, but that’s at least in part because of my love of Ruth Ware’s novel.
This list was made with the intention of celebrating the craft. I love seeing more women of colour on this list than before and more newcomers on the scene as well!
2025 has just about wrapped, so we’re taking this time to celebrate the most inclusive films that came out this year. Graded on Gender, Race, LGBTQ, Disability, and more
Emily and Stephanie are back... just add gin and drama.
In all actuality, “Just Mercy” should be labeled a “wall punching narrative.” Constantly, the flick throws high forms of adversity our way, amping up our most inner levels of discomfort. Filmmaker Destin Daniel Cretton wonderfully paces the film in such a way that replicates the slow-burn nature of justice.
