Moby Dick 

Malignant is a roller coaster ride of slow-build scares, moments of wonderfully absurd camp, and explorations of autonomy.

When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

"Boston Strangler" pulls the curtain back on a well-documented historical moment involving significant contributions from women reporters. 

The Night Doctor achieves telling an original story in which the pace accelerates progressively while supported by dark aesthetics.

For the most part, 'Sweet Girl' recycles tired hyper masculine revenge tropes, but a surprise twist in the end turns it into a female-centric revenge film.