Normal starts with a bang. And by bang, I mean dudes casually cutting off their fingers like it’s a Tuesday. It immediately signals the movie’s vibe, and yeah, it instantly brought to mind that unhinged Tarantino segment from Four Rooms. From the opening moments, you know this thing is not going to play it straight.
Read MoreMurder, Mayhem and Maiden Aunts: Queens of Mystery Series 2 on DVD
I will always show up for Inbetweeners alumni, so spotting Martin Trenaman in Queens of Mystery Series 2 felt like a promise already being kept. Add in the presence of Bend It Like Beckham royalty via Juliet Stevenson, and this second run of the Acorn favourite had my attention before the first body even hit the floor. Queens of Mystery wastes no time reminding you why it earned its Emmy nomination, and with Series 2 now landing on DVD and digital courtesy of Acorn Media International, this feels like the ideal format for revisiting Wildemarsh.
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 MoreImposters Is Saved by Jessica Rothe and a Strong Finish
There is a moment at the very beginning of Imposters where I leaned forward in my seat, ready to lock in. The opening carries a quiet, unsettling tone that immediately reminded me of Frailty, which is high praise considering how wildly underrated that film still is. That initial mood promises something intimate, sinister, and emotionally raw.
Read MoreSender Is a Paranoia Thriller That Forgets Why You Care
There is something immediately compelling about Sender, especially when you consider how it chooses to introduce itself. Right out of the gate, the movie hooks you with Jamie Lee Curtis, whose presence alone lends instant credibility and intrigue. Even when she is underutilized, you feel her gravitational pull over the project.
Read MoreStyle Over Substance in DreamQuil’s Post-Tech Nightmare
There is a specific kind of sci‑fi that plays exceptionally well at SXSW. High concept. Retro-futurist aesthetics. A techno-paranoid premise that gestures at big ideas about identity, technology, and disconnection without always knowing what to do with them.
Read MoreReady or Not, Here Comes the Nutcracker: Pretty Lethal Ballets in Blood
Pretty Lethal announces itself immediately with a SNAP. The opening needle drop of Rhythm Is a Dancer hits not as nostalgia bait but as something warped and echoing, familiar yet remixed into something colder. It sets the tone instantly.
Read MoreAmerican Dollhouse Is the Meanest Indie Slasher in Years
There is something deeply special about watching an Austin-made horror film premiere at SXSW, especially when it feels truly of the city. American Dollhouse, the sophomore feature from writer-director John Valley, is exactly that kind of film. It is grimy, intimate, patient, and mean in a way that only an indie slasher with a clear vision can be.
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