Toto, Peppino, and the Hussy 

Gritty and bleak are the best words to describe this film. There’s nothing happy about it.

A Girl Walks Home Alone At Night, though its feminism may be unintentional, cannot exist without its focus on women reclaiming power. The movie is feminist by definition, even if Amirpour didn’t write it with that in mind. A Girl Walks Home Alone At Night is mesmerizing, poetic, and stunning, both for its portrayal of feminist ideas and its powerful story that is both horrific and subtly romantic at once.

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.

Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.

The Invitation takes a creeping look at two simple premises: reuniting with forgotten friends and new-age spiritualism. Though one seems a bit scarier than the other, the film heightens social awkwardness to a macabre level that puts an uncomfortable look on when the social taboo of grief is put on public display.

The sequel following The Son of Bigfoot explores Adam's conflict of discovering his true identity as he tries to save a wildlife preserve.