REVIEW: ‘Evil’ Season Two Takes on Body Horror, God, and Motherhood

Refusing to place all its hopes in both state and religion as god-given arbiters of justice, season two of Evil reinvents the crime procedural by suggesting that ideas of good and bad are not given, but made, remade, and brutally scapegoated onto people.

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REVIEW: ‘I’m An Electric Lampshade’ (2021) Has A Weak Spark of Life

This tale of accountant-turned-artist is never clearly docudrama or pure fiction, making for a bizarre watch.

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REVIEW : The Unsuspected Hero of ‘The Courier’ (2020)

‘The Courier’ is a tense, well-orchestrated spy movie. As a veil of secrecy and anticipation, heightened by mutual threats from both USSR and United States, bears over humanity at the dawn of the Cold War, Greville Wynne (Benedict Cumberbatch) is recruited by MI6 to spy on the opposing force. Greville had this far worked as…

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​​BHFF REVIEW: ‘The Sadness’ (2021) Is Tear-Jerkingly Depraved

“In ‘The Sadness’ the fear is not—as Hitchcock might have asserted—what is unseen, but what can be endured.”

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BHFF Review: As ‘Lux Æterna’ (2019) Proves, Bonfires Are So Sexy

“‘Lux Æterna’ associates the cinematic regard with the spectacle of a witch burning, gobbling up misogynistic entertainment at the expense of another’s pain.”

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BHFF Review: In ‘Good Madam’ (2021), Fear Lives In the Fingertips

“Taking up the mantle of other bright stars of the creepy-old-lady-upstairs subsection of the genre, ‘Good Madam’ offers an interesting take on horror that passes, first and foremost, through the hands.”

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LFF REVIEW: ‘The Souvenir: Part II’ (2021) an Exquisite End to Hogg’s Memoir

‘The Souvenir Part II’ takes off from exactly where Part I left us, and gives us a beautifully cyclical inverse to the story.

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LFF REVIEW: ‘Memoria’ (2021)– Apichatpong’s Transcendental Journey to Colombia

“‘Memoria’ takes its audience on a journey to somewhere wholly unexpected, yet upon arrival, it’s clear that the film couldn’t end anywhere else.”

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VIFF 2021 REVIEW: How ‘The Scary of Sixty-First’ (2021) Red Pills its Audience

New wave body horror goes IRL in Dasha Nekrasova’s impressive directorial debut.

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