SciFiNow

Tomatometer-approved publication
Rating Title/Year Author
3/5 Maleficent: Mistress of Evil (2019) Amy West How it alters certain aspects of the cartoon won't go down well with diehard Disney fans, but there's something to be said for its boldness and if regarded as a standalone piece, it's much like its protagonist... more good than bad. EDIT
Posted Oct 15, 2019
4/5 Judy & Punch (2019) Katherine McLaughlin [Mia] Wasikowska is electrifying as she leads the charge against oppression in an impressively mounted debut with real fire in its belly that marks Foulkes out as one to watch. EDIT
Posted Oct 11, 2019
3/5 () Katherine McLaughlin It's an impressive if repetitive yarn that marks [Shahad] Ameen out as a filmmaker with a potent visual style as she sets sail through restless waters and offers hope through rebellion. She is definitely one to watch. EDIT
Posted Oct 9, 2019
4/5 The Lodge (2019) Katherine McLaughlin [Riley] Keough's intense and affecting performance pins the whole production together. EDIT
Posted Oct 8, 2019
4/5 () Katherine McLaughlin On only his third outing as a director [Jayro] Bustamante delivers one of the most powerful depictions of the legend of La Llorona in film as he fearlessly wades through distressing recent history. EDIT
Posted Oct 8, 2019
3/5 Adoration (2020) Katherine McLaughlin [Fabrice] Du Welz uses traditional fairy-tale imagery to weave together another upsetting story about love gone wrong and it is intermittently effective. EDIT
Posted Oct 8, 2019
4/5 The Prince's Voyage (Le Voyage du Prince) (2019) Josh Slater-Williams With a graceful, delicate animation style and mellow score, this is a compelling, tender and thoughtful exploration of xenophobia through a fantasy context. EDIT
Posted Oct 4, 2019
3/5 Gemini Man (2019) Kambole Campbell As an experimental cinematic experience, Gemini Man is wholly unique and shouldn't be missed, more than worth seeing for its dynamic, immaculately staged action. EDIT
Posted Oct 4, 2019
4/5 Ready or Not (2019) Jonathan Hatfull Directors Matt Bettinelli-Olpin and Tyler Gillett have a lot of fun with the bloody set-pieces and moments of high tension and the cast is clearly having a brilliant time finding the humour and horror. EDIT
Posted Sep 25, 2019
4/5 Ad Astra (2019) Katherine McLaughlin [James] Gray has crafted an ambitious outing that propels its chisel-jawed hero through an asteroid belt of melancholy and menace as it traverses grand themes of love, loss and masculinity. EDIT
Posted Sep 18, 2019
4/5 Saint Maud (2019) Elena Lazic Carried by a stellar performance from Morfydd Clark in the lead role, Saint Maud is a seamless experience of pure horror pleasure. Amen. EDIT
Posted Sep 13, 2019
Porno (2019) Jonathan Hatfull It's full credit to the filmmakers that it manages to deliver the fun you'd want from "succubus hunts teens in a movie theatre" while making a sincere, heartfelt and angry point at the same time. EDIT
Posted Sep 5, 2019
4/5 It: Chapter Two (2019) Jonathan Hatfull This is an improvement on the first film; darker, scarier and more heart-breaking as promised, and while the structure is clunky and the big CGI moments are still, well, big CGI moments, this is an ending die-hard King fans can be happy with. EDIT
Posted Sep 4, 2019
Daniel Isn't Real (2019) Anton Bitel Adam Egypt Mortimer's psychological horror shows a young student's struggle with past trauma, inner demons and a legacy of madness EDIT
Posted Sep 3, 2019
2/5 Joker (2019) Stephanie Watts The film begins in a pretty dark place and it only gets more and more miserable as it goes on, with no relief in sight. EDIT
Posted Sep 3, 2019
() Anton Bitel part of this driven, ambitious director's tragedy is not just the... films, all striking in their time and each better than the last, which he left behind, but the potential of unfulfilled creativity to which they point, cut off so prematurely. EDIT
Posted Aug 30, 2019
() Anton Bitel It is a koan alright... For any solution lies between the cracks of the film, in its cralwspaces and underneath its floorboards, shedding only the darkest of lights on the creaky structure of this family. EDIT
Posted Aug 30, 2019
Witches in the Woods (2019) Anton Bitel Seven co-eds get lost in the Massachusetts woodlands, where historical malevolences and misogynies persist EDIT
Posted Aug 30, 2019
() Anton Bitel Eat, Brains, Love takes the hormones and appetites of rebellious teenagers, and adds zombies to the mix for comedy kicks EDIT
Posted Aug 30, 2019
() Anton Bitel a corrective battle of the sexes, pitting open female empowerment and maternal might against a man whose own chokehold over others is rooted entirely in his ability to hide like a little boy. EDIT
Posted Aug 30, 2019
Spiral (2019) Anton Bitel Spiral blends Polanski and Peele to show a nation that fears, exploits and needs otherness to maintain itself EDIT
Posted Aug 30, 2019
() Anton Bitel Graham Hughes' manipulative mockumentary tells a sophisticated (maybe) ghost story for the age of the internet EDIT
Posted Aug 30, 2019
Volition (2019) Anton Bitel Volition uses its protagonist's clairvoyance to take the clash of free will and determinism for a twistily divergent ride EDIT
Posted Aug 29, 2019
() Anton Bitel With its characters who, after encountering a strange meme, must race the clock against their own impending doom, Halloween Party marries the fatalistic tensions of Ring to the amiable student banter that Dahl had already honed in There Are Monsters. EDIT
Posted Aug 29, 2019
() Anton Bitel Nwaka's film takes advantage of the climate recently created by Jordan Peele's Get Out (2017) to reinvest and refresh the horror genre with black perspectives. It is just a pity that in other respects Are We Dead Yet? is so messily unfocused. EDIT
Posted Aug 29, 2019
The Sonata (2018) Anton Bitel Shot with classical composition, The Sonata remixes low horror with the higher arts, and suggests that we are all merely vessels for the subliminal (if sublime) effects of the entertainments we consume. EDIT
Posted Aug 28, 2019
() Anton Bitel if these four high-achieving, middle-class kids are more than happy to exploit, objectify & assassinate strangers for their own kicks, then we are left to wonder what they are capable of doing to their friends, their loved ones and each other. EDIT
Posted Aug 28, 2019
Bloodline (2018) Anton Bitel Even as the film makes us feel constantly uncomfortable for siding with the devil, it undermines the simplicity of reducing either Evan or his errant quarry to devils. EDIT
Posted Aug 25, 2019
Master of Dark Shadows (2019) Anton Bitel David Gregory's doc shows how Dan Curtis' Sixties TV series transformed both the soap opera & the vampire myth EDIT
Posted Aug 25, 2019
The Furies (2019) Anton Bitel The Furies subjects male hunters & hapless female prey to the ethical vagaries of game theory before turning the tables EDIT
Posted Aug 25, 2019
Ghost Killers vs. Bloody Mary (Exterminadores do Além Contra a Loira do Banheiro) (2018) Anton Bitel [it] is very puerile - and even prominently features an enthusiastic schoolboy (Matheus Ueta) and, yes, a possessed foetus among its ensemble of players. Yet there is also, amid all the exploding heads and animated poohs, an underlying sophistication. EDIT
Posted Aug 24, 2019
I'll Take Your Dead (2018) Anton Bitel Chad Archibald's film follows the unconventional family life of a butcher engaged in criminal undertaking EDIT
Posted Aug 24, 2019
True Fiction (2019) Anton Bitel Pitched somewhere between Peeping Tom (1960) and Misery (1990), True Fiction is a tense and twisty near two-hander that carefully negotiates the convoluted connections between authorship and imposture in any work of make-believe. EDIT
Posted Aug 24, 2019
Feedback (2019) Anton Bitel an allegory of the way that, even in this most mediated of ages when everyone has a voice, the rich and the privileged so often prove immune to the most grave of criminal charges. EDIT
Posted Aug 24, 2019
() Anton Bitel Samuel Gridley's feature debut, co-written with Kaile, is no conventional oater - but nonetheless this building will come to be the arena for a complicated and tense showdown, as different outlaw values engage in increasingly violent conflict. EDIT
Posted Aug 24, 2019
Happy Face (2018) Anton Bitel a funny, difficult and in the end deeply affecting story to which anyone who has ever felt estranged, outcast or unloved - which is to say almost everybody - will easily be able to relate. EDIT
Posted Aug 24, 2019
Haunt (2019) Anton Bitel A damaged young woman confronts her deepest trauma in an extreme haunt event from Halloween EDIT
Posted Aug 24, 2019
Madness in the Method (2019) Anton Bitel Jason Mewes' satirical metabiopic sees 'Jason Mewes' turn to method acting to escape his stereotyping as stoner sidekick Jay EDIT
Posted Aug 24, 2019
() Anton Bitel a serial killer thriller with a beating, bleeding heart, in which psycho meets psi and the end comes carefully scripted. EDIT
Posted Aug 24, 2019
The Drone (2019) Anton Bitel Typically horror films close with a hint that the evil may not quite have been vanquished, leaving the door open to any number of sequels. Hilariously, Rubin's film achieves this effect merely by ending as it began: with yet another drone shot. EDIT
Posted Aug 24, 2019
3/5 Scary Stories to Tell in the Dark (2019) Katherine McLaughlin The film runs out of steam as it progresses with atmosphere replaced by a reliance on CG monsters to fuel the fear. EDIT
Posted Aug 19, 2019
3/5 Crawl (2019) Jonathan Hatfull While the dialogue may clunk and there's somehow always time for a bit more daddy-daughter bonding, Crawl's claustrophobic thrills and steady stream of jump scares are right in his wheelhouse. EDIT
Posted Aug 19, 2019
Critters Attack! (2019) Anton Bitel If the overall tone here is one of arch fun, Critters Attack! does not entirely lack subtext. EDIT
Posted Jul 14, 2019
3/5 Annabelle Comes Home (2019) Amy West There's clearly still potential within this franchise but this outing just proves that these films are strongest when the human characters determine the narrative rather than supernatural beings. EDIT
Posted Jul 11, 2019
2/5 The Furies (2019) Josh Slater-Williams While [Airlie] Dodds is a compelling presence, she can only inject so much energy into the convoluted mess. EDIT
Posted Jul 8, 2019
4/5 I See You (2019) Josh Slater-Williams I See You is a puzzle movie, above all else, but it's not an assortment of cheap tricks and switcheroos. EDIT
Posted Jul 8, 2019
3/5 We Have Always Lived in the Castle (2018) Josh Slater-Williams The film has engaging performances and some fine costume work, in particular. As written, though, while the novel's events make the jump to the screen, the spirit of the eerie prose is lost in translation. EDIT
Posted Jul 8, 2019
3/5 Midsommar (2019) Elena Lazic Implacable but slight, Midsommar leaves us grasping at straws. EDIT
Posted Jul 1, 2019
4/5 Spider-Man: Far From Home (2019) Amanda Keats Spider-Man: Far From Home is jam-packed with action from the very beginning along with plenty of humour and surprises along the way. EDIT
Posted Jun 28, 2019
3/5 Yesterday (2019) Katherine McLaughlin It's part filler, part killer, occasionally surprising and enjoyably silly. EDIT
Posted Jun 24, 2019