The world is poisoned. A sacrificial population is tasked with carving out a clean passage with neon lights between pockets of surviving civilisation. One 'runner' dares to race for her life against all the odds. NEON is a break-neck, cyberpunk action sci-fi set in a future decaying world.
Yes, "Nope" is definitely about the modern obsession with turning tragedy and horror into a spectacle for people’s enjoyment. But it's also about the power of looking, who has the right to look, and what happens to those who are looked upon.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
Netflix's new thriller Apex, starring Charlize Theron, puts a twist on survival horror. Despite its setting in the beautiful- yet-dangerous Australian wilderness, Apex is not a movie about man vs. nature. Instead, it’s woman vs. man. While checking out the title card and its unpretentious Netflix release might lead viewers to believe Apex is just another celebrity project churned out of the streaming machine, Apex - whether by luck or by intention - is a consistently harrowing film about the reality of being a woman in a public space.
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 ambitious horror filmmaking, and in a lot of ways, I fully admire its ambitions. For me, the film’s sloppiness defines its overall quality.
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
