Although it lacks the necessary heart to engage with the characters properly, Rob Jabbaz’s The Sadness, aka. the bloodiest film of the year, is a full-throttled and fun gore-fest.
Kamikaze Hearts is the perfect companion piece to Ninja Thyberg’s Pleasure – an instructive yet saddening portrayal of the drug-pierced 80s porn industry.
This Much I Know to Be True marks a reunion between competent minds, delivering a beautiful concert-documentary that showcases the brilliance of Nick Cave’s lyrics.
Thanks to director Hanna Bergholm, Hatching compellingly blends body horror with interesting notions about womanhood and maternity in the modern age.
Although it may seem like a gimmick at times, for the most part Gaspar Noé’s Lux Æterna engages and entrances with its split-screen techniques and bad-acid trip neon stylistic tendencies.
Although Virus: 32 has some engaging horror sequences and a nice performance by Paula Silva, it doesn’t live up to its full potential.
Choose or Die has some interesting concepts about shifting realities and some 80s nostalgia, but it never succumbs to its true potential due to an unsightly approach by director Toby Meakins.
Janus Films presents a newly remastered version of David Lynch ’s most experimental and hallucinatory work, Inland Empire – a story about a “woman in trouble”.
Newly restored by Grindhouse Releasing, exploitation cinema gem Death Game (aka. The Seducers) is a provocative yet entertaining home invasion nail-biter.
Aline is a biopic freely inspired by the life of Celine Dion that’s, in most cases, on the brink of becoming an intentional farce.