‘Number 37’ Is a Taut Update of ‘Rear Window’
One of the highlights of Fantasia 2018 is this update on Alfred Hitchcock's "Rear Window," now transported to a crime-riddled neighborhood in South Africa.
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Fantasia 2018: ‘Wilderness’ Barely Overcomes its Excessive Runtime
While mostly good, 'Wilderness' falls flat from its own hubris, even with a satisfying conclusion and a relationship that keeps everything feeling more grandiose than it actually is.
Fantasia 2018: ‘Pledge’ Digs Into the Horrors of Frats
'Pledge' succeeds in large part due to the strength of Weiner’s screenplay about a horrific fraternity, as well as the talents of the actors involved.
Fantasia 2018: ‘Under the Silver Lake’ is Destined for Cult Status
Under the Silver Lake Directed by David Robert Mitchell Written by David Robert Mitchell 2018 | USA David Robert Mitchell’s third feature is a mess of a film, but it’s also an incredibly entertaining mess that had me glued to the screen from start to finish (despite the two and...
Fantasia 2018: ‘Tokyo Vampire Hotel’ Somehow Condenses Sion Sono’s Madness
'Tokyo Vampire Hotel' is the fever dream of a teenage goth kid, and that's something I never thought I'd need to see.
Fantasia 2018: ‘Tigers are Not Afraid’ is a Morbid Fantasy About Youth
'Tigers Are Not Afraid' is a fantastic coming-of-age film and a harrowing take on the effects of the drug war on the youth of Mexico.
Fantasia 2018: ‘Puppet Master: The Littlest Reich’ is a Mean and Gory Kill Compilation
'Pupper Master: The Littlest Reich' is for audiences who want to be pushed to their limits, and laugh while doing it.
Fantasia 2018: ‘Bodied’ Muddles Its Raps
'Bodied' is often thrilling, and features some great raps and comic writing, but its generic visuals and muddled message threaten any goodwill it receives.
Fantasia 2018: ‘Heavy Trip’ Provides Entertainment for a Niche Audience
'Heavy Trip' has got enough jokes to sustain itself, and the music is all really good — if you like metal.
‘The Man Who Killed Hitler and Then The Bigfoot’ — A Fascinating Exercise in Genre Reinvention
From the title alone, you might expect The Man Who Killed Hitler and Then The Bigfoot to be a grindhouse spoof with excessive violence, exploding pustules, and other cheesy, sordid pleasures of an older form of midnight movie entertainment. As it turns out, The Man Who Killed Hitler and then The Bigfoot is the
Fantasia 2018: ‘The Vanished’ Thinks its More Clever Than it Really is
Unfortunately, 'The Vanished' ends up a huge misfire by being less-than-special amidst a sea of incredible Korean thrillers.
Fantasia 2018: Hide Your Children from ‘Satan’s Slaves’
While 'Satan’s Slaves' doesn’t quite reach lofty heights, it carries itself with enough confidence and tension to satisfy horror fans.