Nicole Veneto
Amanda Kramer’s created a thoroughly campy and celebratory ode to queerness that stands as both a timely political statement and a genuinely well-crafted piece of independent filmmaking.
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Move over Patrick Bateman, there’s a new axe-wielding psychopath for impressionable young cinephiles to project themselves onto in town.
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Babysitter tackles the ambiguities of misogyny head-on in a 35 mm sugar rush of magical suburban realism.
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This horror comedy traps a cadre of privileged, narcissistic Zennials in a whodunit murder mystery and lets their internet-addled delusions of grandeur tear them apart in the paranoid fallout.
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Nope, Jordan Peele’s highly anticipated third feature, is an awe-inspiring marvel about our own unrelenting obsession with spectacle.
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Brazilian director Anita Rocha Da Silveira’s latest film is a genre-spliced howl of feminine fury in the face of right-wing Christian conservatism.
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The Sadness is an especially brutal film about societal collapse and how public health crises like COVID-19 amplify whatever savage impulses lie dormant within us.
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All the Colors of the Dark and The Case of the Bloody Iris are underrated giallo gems worth seeking out, representing not only the best of the genre, but sex symbol Edwige Fenech’s onscreen magnetism at its strongest.
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Rather than a triumphant return to form from one of horror’s greatest visionaries, Dark Glasses plays like a faded Xerox copy of director Dario Argento’s past hits.
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If you find David Cronenberg’s cinematic philosophy on bodily abjection/assimilation and the artistic process intellectually stimulating, then you’re in for an intoxicating return to form from the man whose name is synonymous with the body horror genre.
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