I remember when The Devil’s Candy first dropped back in 2017. I liked it. Solid 3-star territory at the time. But revisiting it now, especially in this stacked new Second Sight limited edition, it hits harder. This thing probably deserved more love from me the first go-around.
Read MoreRenny Harlin Makes Plane Crashes Scary Again in Deep Water
Renny Harlin is back, and not quietly. Deep Water feels like the kind of movie Hollywood stopped making somewhere between post 9/11 seriousness and the rise of sanitized CG spectacle. It is big, pulpy, unapologetically intense, and more vicious than it has any right to be.
Read MoreSay His Name and Sleep Forever: Boy of Your Dreams 2
Boy of Your Dreams 2 is the kind of indie horror sequel that pulls you in with a simple hook and then slowly poisons the vibe until nothing feels safe anymore. What starts as a bubbly, almost cozy girls weekend movie quickly mutates into something meaner, stranger, and far more psychological than you might expect from its lo-fi setup. At first glance, the film leans hard into Gen Z small talk energy.
Read MoreBe Careful What You Wish For: Obsession Is Nasty, Cruel, and Incredible
Believe the hype. I liked Obsession so much that I immediately went home and burned through everything Curry Barker has ever made. Some directors announce themselves quietly. Barker grabs you by the throat and refuses to let go.
Read MoreStephen Graham Turns Therapy Into Terror in Heel
From its opening moments, Heel plants you directly inside the kind of chaos that feels uncomfortably familiar. A reckless night out, alcohol blurring consequence, bravado curdling into danger. It is the sort of opener that does not romanticize self-destruction but stares it down long enough to remind you why it always ends badly.
Read MoreThe Moment Is a Pop Star Panic Attack, and Charli XCX Owns Every Second
Before getting into The Moment, I have to say this upfront. I saw Charli XCX back in 2013 at Filter Magazine’s Showdown at Cedar Street during SXSW. Look at that lineup and tell me that was not an all-timer.
Read MoreA Crowdfunding Collapse: Shelby Oaks and the Horror of Almost Getting There
There is something immediately disarming about Shelby Oaks. It opens with that grainy, mockumentary chill that found footage sickos like me mainline without shame. The kind of setup that feels less like a movie and more like a late-night YouTube rabbit hole you regret clicking on but cannot stop watching.
Read MoreNeon Bruises and Bad Decisions: Refn’s Pusher Trilogy Hits Harder Than Ever
Nicolas Winding Refn’s Pusher Trilogy has officially arrived on Standard Edition 4K UHD and Standard Edition Blu-ray courtesy of Second Sight Films, and it feels less like a routine home video release and more like a long-overdue reckoning. First detonating onto the scene in the mid 1990s, these films did not merely introduce a bold new voice in European cinema; they announced it with a clenched fist and a bleeding nose. Refn’s debut, Pusher, remains a jolt to the nervous system.
Read MorePearl (2025) 4KUHD
Ti West’s Pearl has always stood apart from the rest of the X trilogy—at least for me. While X delivers retro-slasher grit and MaXXXine goes full neon fever dream, Pearl is the one that lodged itself under my skin and refused to leave. Maybe it’s Mia Goth’s fearless, feral performance.
Read MoreChoke (2020)
Choke, directed and written by Gregory Hatanaka, is a puzzling experiment in indie filmmaking that struggles to find its footing. The film attempts to blur the lines between reality and fantasy, following a nihilistic detective and a serial killer whose lives intersect through a mysterious young woman. At just 73 minutes, it’s brief, yet crams in an overwhelming number of montages, monologues, and seemingly symbolic scenes—many of which fail to resonate or clarify the story.
Read MoreWe Are Wolves (2024)
Cult cinema is alive and kicking, and We Are Wolves is proof that the weird, chaotic spirit of offbeat thrillers hasn’t gone anywhere. Directed and written by Rich Mallery, the film follows Fenix, a lost soul yearning for belonging, as she attempts to rejoin her chosen family—only to find that acceptance comes at the cost of playing some dangerously twisted games. On paper, the film is a mess of formulaic plotting and familiar tropes, and yes, the acting isn’t exactly Oscar-worthy.
Read MoreEden (2024)
Ron Howard’s Eden is a survival thriller that blends prestige with pulp, historical truth with cinematic spectacle. Produced by Brian Grazer, Howard, Karen Lunder, Stuart Ford, William M. Connor, and Patrick Newall, the film assembles an impressive cast—Jude Law, Ana de Armas, Vanessa Kirby, Daniel Brühl, and Sydney Sweeney—for a story drawn from the real-life settlers of Floreana Island in the Galápagos during the 1930s. On paper, the premise is irresistible: a band of idealists flee modern civilization for paradise, only to discover that the most dangerous predators are themselves.
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