While it had some beautiful performances, I felt that ALL OF US STRANGERS was a saccharine, overly sentimental and syrupy melodrama with a predicable ending that would’ve been better suited to an episode of ARE YOU AFRAID OF THE DARK. But I know I’m in the minority on this one.
If, in 2025, you’re going to exploit the AIDS epidemic, you had better have a compelling reason. Or, at the very least, something of value to say, even if it’s been said before. But to approach such a well-worn and devastating subject with virtually no respect or consideration for queer or Black experiences is to begin on an already misguided and ethically precarious footing.
While the AIDS crisis unquestionably impacted communities of intravenous drug s, Alpha’s near-total erasure of queer…
This review may contain spoilers. I can handle the truth.
Dangerous Animals marks the splashy and brutal return of Australian horror master Sean Byrne, the man filmmaker behind The Loved Ones, an unmissable cult classic. And nearly a decade after the hardcore self-seriousness of his sophomore effort The Devil’s Candy, Byrne resurfaces with his most mainstream and viscerally entertaining film yet. This time he serves fish by way of a nasty, sun-drenched thriller that weaponizes genre familiarity with feral confidence. It may not rack up the highest body count, but what…
A scrappy and transgressive exhumation of the fine line between beauty and the grotesque. Glowicki uses minimalist sets and stark vintage lighting to spotlight her tiny ensemble of performers, creating an emotional closeness that feels rough and confrontational. Like Lars von Trier’s Dogville, Dead Lover rejects spatial realism in favor of captivating performance-driven storytelling.