Tag: THRILLER

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972)

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Directed By: Sergio Martino

Written By: Sauro Scavolini, Ernesto Scavolini and Adriano Balzoni

Story By: Sauro Scavolini and Luciano Martino

Based On the story “THE BLACK CAT” By: Edgar Allan Poe 

Cinematography: Giancarlo Ferrando 

Editor: Attilio Vincioni

Cast: Edwige French, Anita Strinberg, Luigi Pistilli, Angela La Vorgna, Ivan Rassimov, Daniela Giordano, Ermelinda De Felice, Enrica Bonaccorti 

A string of murders are committed near the estate of a degenerate author, whose abusive relationship with his wife is further complicated by the arrival of his manipulative niece.

Always a fan of longer movie titles as they come across poetic and almost like the log line or heart of the film. Then again it could just be the translation of the title in English from Italy. When actually it’s based on a line from the film’s director Sergio Martino’s earlier and much better film THE STRANGE VICE OF MRS. VARDH 

This twisted erotic thriller that has giallo implications. Only other than the beautiful lead Anita Strinberg everything else comes across not glamorous and even ugly. Not as stylish as it seems to try to be. Though the film can be sexy at times and has at least one memorable seductive sex scene. The females amongst the cast are the only beauty this film ends up having other then maybe production design. 

One can see why the leading man played by Luigi Pistilli is mad throughout. He’s A suspect in a few murders of female companions and lusting after Edwige French’s character. Who is supposed to be his niece. She is not only ravishing but She seems to have sex with every other character except for him at least for most of the film

No, as the film and lead are so abusive and misogynistic it’s hard to see where exactly the movie is going or care about most of the characters.

Only one main character approaches any sympathy the only other decent characters are supporting or die way too soon

No, the film is abuse and violence as foreplay as the main couple have a dysfunctional, almost S&M relationship not that the fetish factor makes it dysfunctional as that can be normal. Their relationship has just too many problems throughout.

The lead characters, horrible teeth don’t exactly help sell them as likable or even handsome maybe in a rugged British or masculine manly way that was more in vogue at the time, but once the story does come back into focus and spells it out a little more and you feel the same

The film isn’t stylish enough to really impress or make an audience take notice. The soundtrack isn’t really that impressive either as it becomes more annoying at times as it goes along and even at a little over 90 minutes, this film could’ve been shorter, but that would take away from the films atmosphere that keeps trying to build

The inclusion of an African-American character only to be fetishized and brutalized quickly, but that is how the film treats most of the female characters, including random ones only one of them ever truly takes command to make sure she doesn’t stay that way well the other one tries

The ending makes up for it, but it takes so long to get to it to showcase and explain why certain actions needed to be taken and the relationships between certain characters

Ms. French is no slouch, but not as grand. Even as a moral conniver. If one has seen enough of these movies for all the twists and surprises the filmmakers try to give. You can figure out the ending pretty easily. As it reminds you of a TALES FROM THE CRYPT  episode that guy was on for too long and isn’t as fun though perfectly fits.

Though that is also where the film truly gets interesting while offering an Edgar Allan Poe type ending. Which upon research is what the film is based on. 

Grade: C 

IS GOD IS (2026)

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Written & Directed By: Aleshea Harris 

Cinematography: Alexander Dynan 

Editor: Jay Rabinowitz

Cast: Kara Young, Mallori Johnson, Vivica A. Fox, Erika Alexander, Sterling K. Brown, Mykelti Williamson, Janelle Monae, Josiah Cross 

Two sisters embark on an epic quest for revenge; confronting a charged family history that will push them to extraordinary lengths.

This is a revenge tale that we rarely ever see. Where it’s two African American women seeking revenge against all their oppressors all those who have wronged them on their path to their ultimate enemy.

This is truly an African American film as there are no Caucasian or other race characters. So the film stays within the community and culture.

The film exposes monsters even those who are victims can be. As they were made that way eventually.

The film has stylistic flourishes once in awhile that enchant and remind you of what the film could have been. As most of the time before the film gets lost or ahead of itself. It reminds you of the reality the characters are in.  One of them expert fighters or killers. Just determined to do whatever it takes. 

Which is why the actions scenes might not be awesome inspiring like one of it’s obvious influences KILL BILL, but it manages to work by it’s own rules in it’s own worlds 

As mixed in within is a kind of road trip film where in their journey they meet quite a few supporting characters to help them find their father. Each one is so full of life and played by a scene stealing actor. (Erika Alexander, Vivica A. Fox, Mykelti Williamson) That you wish there was more of them in the film. Though you realize they are just big pieces in this puzzle. 

Kara Young steals the film as one of the most strong willed characters of the film. She practically walks away with it as one of the leads. You want to see more of her or for there to be sequels just to see her character. She is the more vicious and angry compared to her sister played by Mallori Johnson who is more scarred, practical and forgiving. 

The film isn’t quite like the trailers made it look like an updated blaxplotiation film full of action with some spiritualism and southern charm. Though appreciate it for being it’s own creation that has more depth then expected. As the film isn’t paced like an action film or thriller and takes it’s time letting us get to know our protagonists. Not to surprised this started out as a play. Whose writer makes their directorial debut here Aleshea Harris 

It’s an original and securely worth seeing and being exposed to this cinematic worlds 

The final act of the film is the most cruel, yet also the most exciting. That feels a little biblical. Even once we meet the ultimate villain played by Sterling K. Brown. He nor the film disappoints.

Though it’s definitely worth seeing

Grade: B 

PRETTY LETHAL (2026)

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Directed By: Vicky Jewson 

Written By: Kate Freund

Cinematography: Bridger Nielson 

Editor: Richard Smither 

Cast: Uma Thurman, Maddie Ziegler, Avantika, Millicent Simmonds, Iris Apatow, Lydia Leonard, Julian Krenn 

It follows a group of ballerinas as they try to escape from a remote inn after their bus breaks down on the way to a dance competition.

The film is predictable from beginning to end. It seems like it might be more for teenage girls. As far as courting an audience. As it offers rebellious and bad ass young women coming together to support an help each other to survive and realizing they have more in common than what separates them. As the film does have a female empowerment message with a very violent resolution. 

The film offers no real tension and plays pretty basic. Except for the fight scenes. Where the film finally comes to life. Luckily the film is quick under 90 minutes and gets to the point pretty quickly. 

Other then The ballet troupe every other character is despicable or unlikable. Am

Nothing here really stands out, even with a crazy bananas third act. That seems random and ridiculous a kind of overkill. Where the film finally comes and tries to go balls to the wall.

As we keep hearing how dangerous a villain is throughout and then when he finally appears. The film never lets him do anything as far as showcasing skills or danger. The guy who hides bodies is more of a menace.

Uma Thurman is one of the only recognizable actors in the film. Unless you follow the yo g actresses who star careers. Though you may recognize them from other movies. So that shows you the talent involved. 

As of late Una Thurman’s roles and the material she appears in has been disappointing. Even if she is giving it her all 

GRADE: D+

FALL (2022)

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Directed By: Scott Mann

Written By: Scott Mann And Jonathan Frank

Cinematography: Mac Gregor 

Editor: Robert Hall

Cast: Grace Caroline Currey, Virginia Gardner, Mason Gooding, Jeffrey Dean Morgan, Jasper Cole, Darrell Dennis 

Fifty-one painful weeks after surviving a life-altering incident, Becky, an emotionally fragile rock climber drowning in a sea of grief, reluctantly picks up where she left off to confront her fears. As a thrill-seeking friend re-enters Becky’s ruined life, the two experienced climbers embark on a high-risk adventure to the top of the abandoned B67 TV tower. Now, two mortals seek to conquer the anxiety-inducing, vertigo-inspiring, 2,000-foot construction of weather-beaten metal and rattling rivets in the middle of the Mojave desert. But out there, even the slightest mistake can spell trouble. When the risky climb doesn’t go as planned, the two women must summon every last ounce of courage and strength to devise a plan for a safe return home–or die trying.

This is a film that seems more designed for theatrical watching in 4D or maybe even IMAX as it feels like almost a theme park ride or attraction more than a film it last 90 minutes and it does have a story but it seems more interested in being immersive almost POV like an adult movie.

As most of the film is watching these two characters stranded and trying to save themselves as well as working through some particular drama. As this one would definitely fail the BECHDEL test. As half of what they speak about is guys relationships, even when stranded though that seems to be the core of their drama and revelations.

The film does have a twist around the end of the second act, which doesn’t feel earned, but is understandable, but also feels a little manipulative to the audience, though fetch in with the unpredictable nature of the film, as it seems to be female versus nature or human versus nature, in wild nature should prevail, humans feel that they must conquer for some reason.

The film tries to presented as catharsis vote. It’s really just ego. The film does manage to keep your interest throughout, though. Don’t know if you would really ever need to watch it again. Was kind of hoping for maybe a moral story or a kind of tales from the crypt type ending or facets of the story becoming that line the film though plays mostly straightforward.

Though it is invented in finding ways to broad the story, so it’s not just the audience stuck with the two characters all the way up at the top of this tower. We do get quite a few scenes and characters away from the tower.

Director and Co-writer Scott Mann makes the film tension filled and is a Good calling card to show what he can do with a high concept idea and enough of a budget. As the film has that little engine that could energy. 

Though it just feels like the film drop more high octane what would you do and facing your greatest fears type of film, which is fine and another reason why the Medium of cinema and motion pictures were made just didn’t necessarily when me over completely. I managed to be entertaining enough.

Grade: C

FLIGHT RISK (2025)

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Directed By: Mel Gibson

Written By: Jared Rosenberg 

Cinematography: Johnny Derango 

Editor: Steven Rosenblim

Cast: Mark Wahlberg, Michelle Dockery, Topher

Grace, Leah Remini, Maaz Ali, Paul Ben-Victor, Eilise Patton, Monib Abhat 

A pilot transports an Air Marshal accompanying a fugitive to trial. As they cross the Alaskan wilderness, tensions soar and trust is tested, as not everyone on board is who they seem.

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to be honest, this phone plays like a TV movie from the 80s or 90s though what makes it worthy of the big screen is that it’s directed by Mel Gibson and that it stars Mark Wahlberg, whose idea of stretching to play a villain was making his character partly bald 

As most of this phone takes place on a small carrier plane where reluctant witness is going to testify against the mobster with an FBI agent as his chaperone and the pilot who ends up not being who he supposed to be, but actually a hitman 

Even when he is taken down, but not killed, they have to figure out how to fly the plane to safety, as well as finding out who exactly they can trust and who the mole might be in the organization largely off screen, so we only hear their voices, though as soon as I heard Leah remini’s voice. I knew it instantaneously.

The film is cut and dry though it tries to stay suspenseful with some shocks and a bit of action. Even though for the most part the film is pretty predictable.

It’s one of those film Where you wonder why the cast and director of Gibson’s stature decided to make this film. Which seems simple even by Netflix standards. 

Was he trying to sharpen his directing chops or was this a favor to someone he owed. As that can be the only explanation for Mark Wahlberg’s involvement as a favor to Gibson and try Playing a heel in a movie he didn’t suspect many would see or just for fun and the film Doesn’t totally rest on his shoulders. 

If you are looking for a movie with low stakes or just to play in the background that is pure blockbuster popcorn. This might be the film for you. As it is very lite and unassuming.

Grade: D+ 

PEAKY BLINDERS: THE IMMORTAL MAN (2026)

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Directed by: Tom Harper

Written By: Steven Knight

Cinematography: George Steel and Ben Wilson 

Editor: Mack Eckersley 

Cast: Cillian Murphy, Tim Roth, Barry Keoghan, Stephen Graham, Rebecca Feguson, Sophie Rundle, Packy Lee, Jay Lycurgo

During World War II, Tommy Shelby returns to a bombed Birmingham and becomes involved in secret wartime missions based on true events, facing new threats as he reckons with his past and rising national stakes.

For me, this is the first cillian murphy movie and performance. I’ve seen in which he’s played the lead so while there is more action, it still seems like he’s going with that moody cerebral acting with less dialogue and more everything is told through physicality in his facial expressions and seeming melancholy

It’s dipped into atmosphere and history thst helps shape it and enriches the material that makes it feel deep.  It sure if it’s as satisfying for the audience as it feels more for the creators. Very few characters from the show return which is a bit of a bummer.

If looking more for the gangster aspects of the characters and show or in general. You might be disappointed

All this emotion and dread fits yet gets to be overbearing. As it seems to be more what Cillian Murphy seems to enjoy and be into

with some elements of an underworld story. 

More about the machinations behind the scenes with double crosses and betrayal more at the heart of things. That as slays has a twist at the end. That makes up to how long it took to get there. 

It’s not bad to just expect bigger and better. Rather than settling for the same almost. Only like a shortened season with less of the original cast members. Though some good gust stars to help you forget and it ends the character of Thomas Shelby’s story.

No, I will say this is more made for fans of the show rather than people just coming into the characters. As it doesn’t quite exactly work as a gangster film on its own, especially when it has such a huge history, six seasons of it really.

this seems to be the ultimate series finale that at least part of me could’ve done without as I liked how the show ended for the most part. So in unless they plan on doing the next generation, I believe this might be the end of it all even though they made it seem like there would be a bunch of movies. At least we got six seasons and a movie. Which currently the show COMMUNITY is trying to fulfill that promise

Give the film a chance, but if you’re going to wait around for action, you might be disappointed

Grade: B- 

MANODROME (2023)

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Written & Directed By: John Trengove 

Cinematography: Wyatt Garfield 

Editor: Julie Monroe and Matthew Swanepoel

Cast: Jesse Eisenberg, Adrien Brody, Ethan Suplee, Odessa Young, Lamar Johnson, Philip Ettinger, Sallieu Sesay, Evan Jongigent, Caleb Eberhardt 

Conflicted about his girlfriend’s pregnancy, Ralphie’s life spirals out of control when he meets a mysterious family of men.

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Manodrome is a film with a cast far too good for the material they’re strapped to. What begins as though it might tackle the incel phenomenon, the so-called male-loneliness epidemic, or even the seductive pull of male-only cults, quickly turns into a character study of a protagonist we’re never truly allowed to know. Instead of insight, we get glimpses, most of them involving Jesse Eisenberg screaming or pumping iron under red-headed territory. so glaring it almost feels like an emotional shortcut. Are we supposed to feel sympathetic simply because he’s a ginger giant now?

The film flirts with psychological depth but never commits. It gestures toward big themes: masculinity vs. femininity, queer repression, emotional stunting in men, but abandons each just as quickly. There are moments where it feels like the film might actually be about a closeted man’s struggle for comfort in his own skin; then it swerves back into gym-bro asceticism. It raises the question of what the film thinks its own subject is: toxic masculinity, queer panic, vulnerability, male bonding, or just the world’s most intense Fitness recruitment video?

Eisenberg’s character seems written as a case study in emotional volatility, desperate for attention, terrified of receiving it, pushing away anyone who offers care, and ultimately betrayed by the one person he lets in. But because the script avoids true psychological exploration, these behaviors drift into abstraction. They happen, but they’re never grounded. We observe him, but we’re not invited to understand him.

Technically, the film is competent sometimes striking. The cinematography aims for a chilly, Lanthimos-adjacent precision, but without the thematic or tonal control to justify the comparison. Scenes play out with an almost clinical frankness, hinting at a sharper, more daring film beneath the surface. 

You can’t help but wonder what Manodrome might have become under the guidance of a director truly adept at blending psychological discomfort with stylistic purpose. Yorgos Lanthimos comes to mind simply because he excels at exactly the things this movie only imitates.

Meanwhile, the supporting cast feels underused. Adrien Brody, who once won an Oscar for throwing himself into the void emotionally, seems here to be collecting an easy paycheck. Eisenberg, a former nominee himself, does admirable work inside a role that ultimately gives him little to explore besides a ringtone so annoying you begin to suspect it’s the film’s real antagonist.

Every twenty minutes the movie seems to reinvent itself, without ever improving. The plot wanders, the tone shifts, and by the end you’re not sure the film knows what it wanted to be in the first place. For all its supposed psychological weight, Manodrome proves surprisingly hollow, a film that demands interpretation but offers little reward for the effort.

these are some of the thoughts I had while watching the film…

It would be brilliant if this whole man cult plan was just a financial scheme to build a members only gym

I don’t know if it’s the movie or how many times we hear it. Jesse Eisenberg’s character has the most annoying ringtone 

In the end, it’s a puzzle that doesn’t feel worth solving. You’re free to skip it; you won’t be missing anyone’s best or even notable work.

Grade: D+

WAKE UP (2023)

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Directed By: Anouk Whissell & Yoann-Karl Whissell

Written By: Alberto Marini

Based on A story/idea By: Martin Soudan 

Cinematography: Leo Hinstin

Editor: Joris Laquittant and Francois Simard 

Cast: Turlough Convery, Benny O. Arthur, Jaqueline More, Thomas Gould, Alessia Yoko Fontana, Kyle Scudder, Aidan O’Hare, Charlotte Stobier 

In an attempt to draw attention to the environmental crisis, young activists decide to invade and vandalize a furniture store. The protest quickly turns into a massacre when they find themselves trapped with a hunting-obsessed night guard.

This feels like a pretty basic horror set up. Where the characters are pretty much put into place and the inciting incident that triggers the so-called beast or monster is unleashed. While we watch the core group get killed off in continuously gory and hopefully inventive even maybe shocking Ways.

This movie is under 90 minutes but feels longer for some reason. Even though it is pretty cut and dry. While it takes its time getting to the action.

What saves the film is the third act where it finally feels like it’s moving and trying to be creative. Especially as that is when the film chooses to humanize the victims, somewhat. So that the audience cares more than the type of characters we have been presented with. As when they do start to get eliminated there is very little to react to as we barely know them.

The only thing that humanizes them and truly reminds us that this shouldn’t be seen as fun and entertainment and tries to make the film that much more a tragedy, is when one character says “They’re just kids” 

The only problem is that the film seems to have so much fun at their dismissals. Including a quite cruel ending and a cynical bumper at the end. So that it seems half hearted or like a cynical joke. There only to up the ante for the audience. The filmmakers saying see it’s much worse then you think.

The cast is diverse, as they are disposed of equally. Though the main perpetrators and cowards seem to be the Caucasian characters. 

It’s a perfectly fine time waster but there is nothing that special about the film. It’s entertaining and realizes to not wear out it’s welcome.

Grade: C-

STONE COLD FOX (2025)

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Directed By: Sophie Tabet

Written By: Sophie Tabet and Julia Roth

Cinematography: Ken Seng 

Editor: Joel Griffen and Jennifer Lee

Cast: Kieran Shipka, Krysten Ritter, Kiefer Sutherland, Jamie Chung, Mishel Prada, Karen Fukuhera, Gabrielle Maiden, Adam Elshar 

In 1986, the defiant Fox breaks out of an abusive commune in search of her family. But when the queenpin kidnaps her little sister and sends a crooked cop after her, Fox has no choice but to infiltrate the very place she escaped.

Set in 1986, though truly could be modern except for a lack of electricity and maybe the fashions. As the film plays like a throwback. Especially when it comes to retreading a familiar story. Only here from more of a female perspective. 

This was a major disappointment, especially considering the cast. As it’s one of those films where they have an actually interesting story in plot and managed to keep it moving and interesting, but at some point, the film just seems to stand there and brings no excitement, nor does it build on the things that it sets up.

It has one clever twist and definitely has style, but you can tell the films limitations because there’s so much more that can be done in the film. Just seems to leave it there and let the audience use their own imaginations which can be inventive if left for us once or twice, but not constant.

The film also offers no real surprises. You know where it’s gonna go as a telegraphs it before it gets there and then when you get there, it just does nothing new or all that interesting except for a few points and perks of the fellow.

Everyone gives a good performance, you just wish there were more to their characters or were given better dialogue, than something a little more to do. as it’s a film that seems like it’s gonna be more but plays pretty basic.

Most of the cast is female and talented females. So that they’re very few men in the film and the few that there are seem very inept. So it’s more like ladies are doing it for themselves. it is a little empowering.

Though there are two characters in the film that just seem to be there for no real reason, more in the background, but they’re not really workers nor are they henchman and they don’t seem to be the main villains even their love interest so are they just there for company it seems and while they are of some use. A little bit more towards the end, they really didn’t still really need to be there.

Going into this film, I wanted to really root for this film as it has a bunch of actresses who I really admire their work Jamie Chung Krysten Ritter, Mishel Prada, and they’re given good roles. It’s just that they all feel a little bit more cliché Mishel Prada is the only one who kind of gets the more interesting not typical role, but it still leaves her with very little to do and few chances to truly go to weird or dark places that the role seems to demand.

Though it is nice for a leading role for Kieran Shipka, who seems to be becoming quite of the character actress and has finally grown into more leading female roles.

Luckily, this film goes by fast. As it’s under 90 minutes

Grade: C- 

SEW TORN (2025)

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Directed & Edited By: Freddy Macdonald 

Written By: Freddy Macdonald and Fred Macdonald

Cinematography: Sebastian Klinger

Cast: Eve Connolly, Calum Worthy, John Lynch, K Callan, Ron Cook, Thomas Douglas, Caroline Goodall, Werner Beirmeier 

A seamstress gets tangled in her own thread after stealing a briefcase from a drug deal gone bad. In an escalating game of cat and mouse, her different choices lead to drastically different outcomes along the way.

This film was a little bit more unexpected, though it came recommended. I tried my best to go into it blind. All I know is it had to do with knitting and some kind of crime caper. Both of which are true though the way they match together is very intricate.

It starts off slow, but then becomes a kind of choose your own adventure tale where it’s based on the main characters decision and we see her faith based on each of these decisions. So that it might remind some of RUN LOLA RUN. it is noticeably different and the way that it plays

The film does have a quirk factor, that at times threatens to overcome the material, but luckily because of that when violence or the story turns dark though not Unexpected it does provide a little bit of shock for the audience.

This is one of those kind of cute Indie films that shows a lot of spirit and ingenuity, even if it does come off at times a little too clean, cut and polite, considering the material involved.

Though it shouldn’t disappoint any audience members, as it is, a cleverly designed film that by the end does feel inspired. Especially as a captivating thriller.

Though for all its ingenuity, it just feels like it should’ve had a stronger hold on the audience and make you feel something as it comes off as an appetizer or rather light meal that looks bigger than it actually is, but you don’t quite feel full by the end.

Grade: B-