One of the more surprising things about “Babygirl”, the upcoming erotic thriller from Halina Reijn, is how often it resists making its characters symbols or avatars for ‘very important discussions’.
Fans of horror and the supernatural will have much to celebrate on Christmas Day when Robert Eggers’ “Nosferatu” premieres in cinemas.
It has been a long road to the screen for the musical.
In late September, a newly released trailer for “Gladiator II” featured a line of dialogue that revealed a significant piece of information that seemed like a spoiler for the (at the time) upcoming film.
Many Christmas films have revolved around a recurring concept: “What if Santa Claus were real?”
British screenwriter Kelly Marcel makes her directorial debut with “Venom: The Last Dance”, the third film in the “Venom” series in six years.
JT Mollner’s thriller “Strange Darling” feels shorter than 96 minutes. It breezes through its six chapters (and epilogue) with an impish excitement, teasingly daring audiences to guess what new twist might be waiting in store.
Brad Anderson’s “The Silent Hour” adds a mild twist to a familiar genre tale and delivers a surprisingly efficient jolt of energy to the month in new releases.
“The Substance”, a French (allegedly) satirical body-horror film with an American cast from director/writer/co-producer Coralie Fargeat wears its allegorical underpinnings overtly.
Lawrence Sher’s camera moves through the halls of Arkham State Hospital with a desultory grimness that refuses to let up.
Conventional wisdom tends to suggest that origin stories are rarely the best ways to inject energy into familiar intellectual properties.
If there’s one inarguable thrill about “Beetlejuice Beetlejuice”, Tim Burton’s sequel to his 1988 horror-fantasy-comedy “Beetlejuice” is that it is an actual sequence and not a remake masquerading under a different title.
A war veteran shows up in a smalltown for personal business and becomes the target of a police-orchestrated manhunt after a series of mishaps.
For a film so firmly entrenched in the power of solidarity and togetherness, I was surprised that my favourite moment in the recently released “Sing Sing” is one defined by separation.
There’s a sharp and knowing sense of the zeitgeist running through “Blink Twice”, the directorial debut of actress Zoë Kravitz.
The sounds of Eurhythmics appear early on in Yorgos Lanthimos’ anthology-film “Kinds of Kindness”, the seductive sounds of 1980s pop-perfection that serve as a complicated promise of the film to come.
In “Trap”, the latest film from M Night Shyamalan, former teen-heartthrob Josh Hartnett plays Cooper Adams.
New Zealander Lee Tamahori’s new film offers a note to audiences before the film begins.
The montage that opens the American independent drama “Ghostlight” is a familiar one.
The promised thrill of “Deadpool & Wolverine”, the third cinematic outing of Ryan Reynolds’ Deadpool, is found in its title.
The ePaper edition, on the Web & in stores for Android, iPhone & iPad.
Included free with your web subscription. Learn more.
