With Brightburn, David Yarovesky presents a welcomed twist to the superhero genre with his anti-superhero/horror hybrid that presents the perfect elevator pitch of what would happen if Superman wanted to hurt people instead of help them. Affiliated with eclectic director James Gunn (credited as a producer), Yarovesky is no stranger to the superhero genre having…
A middle-aged man (Surapol Poonpiriya) picks up a teenage girl (Prapamonton Eiamchan) from school. The way he’s smiling at her, you’d think he’s her adoring father. Suddenly he punches her for swearing and expects her to give him a handjob. He drives her to his shabby “love hotel,” Motel Mistress. Tot Niyom (Wissanu Likitsathaporn) is…
Dennis Quaid’s perverse Peeping Tom is the central psycho in director Deon Taylor’s home invasion hokum, The Intruder. Formulaic and faceless, Taylor’s (“Traffik”) domestic drama merely echoes the familiar foundations of other generic goosebump-instilling thrillers chronicling the exploits of a stalking menace out to majorly inconvenience the tranquility of a passionate married couple. From yesteryear’s…
Fans of Jordan Peele’s incomparable societal critique “Get Out” can rejoice as the horror-auteur swings for the fences in his newest horror-thriller Us, and for the most part, hits it straight out of the park. Piggybacking off of the inquisitive, yet cynical, tone of his directorial debut, Us follows the Wilson family as they attempt…
Red Room starts somewhere in Dublin, as a woman named Kyra (Amy Kelly, “Red Rock” TV series) walks home alone at night. A lost cellphone rings on the tarmac. She picks it up. Distracted, she’s grabbed from behind and bundled into a van. She wakes up in a room, locked in chains, along with two…
For a film with a tantalizing title like Velvet Buzzsaw, it sure is disappointing. What a shame. The talented cast, with the likes of Jake Gyllenhaal (“Stronger”), Rene Russo (“Thor:The Dark World”), Toni Collette (“Hereditary”) and a criminally underutilized John Malkovich (“Warm Bodies”), try their best to salvage the poorly thought-out narrative. However, it is…
Reinert Kiil is the Norwegian director responsible for the sort-of-okay slasher “Christmas Blood” (“Juleblod”). If that film was a brooding modernization of “Silent Night, Deadly Night” then The House (“Huset”) must be his re-imagining of “The Conjuring.” On the surface it’s an interesting new twist on the familiar, demon-possessed madhouse setup. Two Nazi soldiers are…
