The Innocent is the most realistic genre film you’ll ever see, mostly because it leaves it up to each viewer to determine if it’s a genre film or not. Depending on how you look at it, it’s either the story of a woman who’s possessed by a demon—or, she’s just having a super shitty week.
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The first thing you notice about Shadow is how accurately descriptive its title is. Save for the skin tones, most of the film is drained of colour, giving the whole thing a black-and-white, graphic-novel feel. That, in turn, sets a very specific dark tone—which works quite well, but also makes a slow-building movie feel that much slower.
Popular Indonesian director Timo Tjahjanto has two films at the 2018 Fantastic Fest. One is a thrilling roller coaster ride of violence, action, and excitement. The other is May the Devil Take You. That’s not to say May the Devil Take You is bad, it’s just not as good as his cop action film The Night Comes For Us.
In Luca Guadagnino’s remake of Suspiria, one of the first things we see on screen is that the film is “six acts and an epilogue set in divided Berlin.” It’s an odd piece of information, but somehow perfectly sets the stage for what’s to come. You know there’s a specific structure. That knowledge helps you anticipate when things are about to happen. And yet, seeing it unfold is still shocking, mysterious, and engaging.
Between Worlds is the latest indie genre film in Nicolas Cage’s mini-renaissance. Previously, films like Mum and Dad and Mandy have utilised Cage to full effect in weird, exciting stories. Unfortunately, Between Worlds doesn’t come close to either of those films, presenting an interesting premise in a flat, made-for-TV-like package.
Have you ever watched The Handmaid’s Tale and wondered what happens to girls born in this society? Girls who never knew the “normal” world? Well, Level 16 may give you an idea. Written and directed by Danishka Esterhazy, Level 16 is an original film, but one that shares more than a little DNA with the hit Hulu show thanks to its subject matter, pathos, and disturbing timeliness.
Border is one of those weird films where the discovery of what it’s about is half the adventure. It starts as one thing, becomes another, and then continues to get stranger and more wonderful as it moves along. What you must know, though, is discovering this oddball yet lyrical Swedish mystery is absolutely worth it.
When authors Sam Sykes (The Mortal Tally, An Affinity for Steel) and Chuck Wendig (Star Wars: Aftermath, Blackbirds) had a detailed Twitter conversation deconstructing the horror genre last year, who could've guessed we'd see that conversation brought to the big screen?
The latest entry in the Halloween franchise is both a dazzling tribute to the original film as well as a unique, standalone story. It's filled with deviations from the familiar slasher formula, but it also carefully incorporates an adoration of its predecessor that feels respectful but not overpowering. By balancing these two seemingly divergent concepts, director David Gordon Green has made a truly special horror sequel.
78/52 is a 90-minute film about one minute. Actually, it's only about 52 specific seconds, along with the 78 different shots contained within, that make up the shower scene in Alfred Hitchcock's classic horror thriller Psycho. The film is solely about breaking down the scene's genius and importance, and it takes the term "deep dive" to a whole new level.
In Alexander Payne's new movie, a dainty Easy Bake Oven bell-chime signals the completion of the cellular reduction process. People who were normal-sized adults are now only inches tall, gently lifted off their beds with implements that look like spatulas. The moment is both cute and terrifying at the same time, much like Downsizing itself.
Sometimes the best genre films are found in the most unexpected places, like in a story of kids who are orphaned as the result of violent gang wars in the slums of Mexico. That's the setting for Issa Lopez's Tigers Are Not Afraid, a jaw-dropping film that blends reality and the supernatural in an absolutely beautiful way. It feels like a spiritual sequel to Guillermo del Toro's The Devil's Backbone or Pan's Labyrinth, except with a more modern, realistic setting.
A team of astronauts is specially trained to solve an unprecedented disaster in space. It sounds like the plot of Armageddon or any number of other generic Hollywood blockbusters but, in the Russian space adventure Salyut-7, it actually happened. Unfortunately, somehow that doesn't make the movie any more exciting.