Galder Gaztelu-Urrutia’s feature length directorial debut, The Platform, features a relevant analysis on modern day class structure along with some legitimate thrills and gore.
Alex Magaña’s newest film, What Love Looks Like, is an anthology that maintains the writer/director’s playful tone but lacks an overall story and falls a little flat.
Netflix’s Altered Carbon returns for a second season with a new lead and plenty of nonsensical storytelling to confuse and irritate viewers.
Color Out of Space, Richard Stanley’s first directorial feature in over 20 years, is a wild trip into the mind of H.P. Lovecraft with its striking visuals and satisfying cosmic body horror effects.
Ewurakua Dawson-Amoah’s short film, Just Scream, boasts a simple but relevant story with a powerful message and great performances.
Tucia Lyman’s feature film debut, M.O.M. (Mothers of Monsters), is an effective psychological thriller with an intriguing story that somewhat peters out by the end.
Despite controversies surrounding the film, Craig Zobel’s The Hunt is a violently entertaining satire on the state of modern day America.
The new film from Zach Lorkiewicz, The Knock, is a more straight forward and suspenseful horror short but still has that wonderfully distinct Count the Clock feel.
Mark Battle’s newest short film, The Music, is a simple and engaging story that keeps you guessing while boasting beautiful black and white visuals.
Autumn de Wilde’s feature length debut, Emma., is a charming and fun version of the oft-adapted Jane Austen novel of the same name.