The Last Week (2024)

Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.

The height of subversive horror cinema is Jennifer’s Body. No, I will never budge on that. Yes, Cabin in The Woods is funny, Scream is very well made, and the Scary Movie franchise is …. there. But nothing is quite as satisfying as watching the teenage succubus that is Jennifer Check rip apart boys. In the post #metoo era where the industry is far from changed, watching revenge flicks like these is probably one of the most cathartic experiences due to the slow-moving progress being made.

Mirrorball is full of passion and love for the medium of cinema and is indeed a fitting love letter to La La Land.

Shudder makes an incredibly atmospheric docuseries about the darker side of Hollywood mysteries.

The short documentary and second place winner of the Incluvie Short Film Festival, Gender Outlaw: A Bodysurfing Story, challenges any simplistic understanding of trans people.

Amsterdam is a confusing movie with a meandering plot amidst a beautiful rendering of 1930s New York