A murder takes place in a forest, though the killer is not seen. Later, inside a gloomy house, two mutant zombies calmly eat human flesh—possibly from the earlier murder—but an ambiguous psychopath appears and orders them both to go find fresh meat for his sick grandmother. The two zombies leave the house in search of victims, and when one of them finds one, the victim manages to fend off the attack and flees, leaving the zombie dying on the ground. Then the psychopath emerges from the woods and begins chasing the victim. The victim eventually stumbles into the mansion and, horrified, discovers the grandmother’s body, so he defends himself with a kitchen axe. Suddenly, the first zombie—now unharmed—appears, but the victim fends off the attack again by decapitating him. He flees the mansion in a panic. Then, suddenly, he wakes up from a nightmare and, distraught, goes to wash his face. But suddenly, the psychopath emerges from the shower and strangles him.
Everything Everywhere All at Once is exactly as the title describes, yet unexpectedly so. It's like the Matrix, but with OCD and hallucinogens, plus a heart’s dose of mother-daughter intergenerational intercultural growing pains. Review and cast.
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.
While the director didn't set out to make a feminist film, "A Girl Walks Home Alone At Night" reads as a reclamation of female power in a patriarchal society.
Unfortunately, People We Meet on Vacation didn’t hold up quite as well as I’d hoped.
You've heard the phrase “If looks could kill,” but have you heard “If dancing could kill?” Pretty Lethal takes that idea and runs with it.
A Black woman centered in a box office rom-com with a happy ending and no struggle love.
