Tag: THRILLER

THE AMATEUR (2025)

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Directed By: James Hawes 

Written By: Ken Nolan and Gary Spinelli 

Based on the Novel By: Robert Littell

Cinematography: Martin Rhue

Editor: Jonathan Amos

Cast: Rami Malek, Laurence Fishburne, Holt McCallany, Danny Sapani, Julianne Nicholson, Jon Bernthal, Michael Stuhlbarg, Rachel Brosnahan, Adrian Martinez, 

When his supervisors at the CIA refuse to take action after his wife is killed in a London terrorist attack, a decoder takes matters into his own hands.

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You probably seen this film before it’s a pretty much a revenge tail where a character seeks revenge for the death or murder of a loved one and at first seems too weak or too meek 

Who somehow against all odds starts achieving in getting their revenge, but not always in the way in which they seek or expected .

This could’ve been a random episode of any kind of government series, or even then a full season of a limited series about the same subject in story, which would’ve at least given the film a chance to flash more of the characters out other than the lead and those who are working against him .

The film is pretty average. It stays entertaining and tries to offer some surprises that you might see coming though it’s not quite as action packed as maybe the trailer or storyline might have the audience believe there are action sequences, but they’re nothing phenomenal or breathtaking. They’re fairly average and actually pretty quick so that this plays off more as a dramatic thriller than anything else.

The twist and turns truly do show how smart that the main character is for what he might lack and physical prose, though it doesn’t help that some of the bigger supporting cast names are barely in the film for long periods of time and are severely underused 

One can understand why Rami Malek produce this and starting it as most likely there aren’t that many who would see him in this role naturally or as he plays the nerdy parts well the more physical aspects of the role would leave most in question. Which is actually one of the reasons why we might not see Rami Malik in so many films is that he’s hard to cast as he’s wiry physically and has quite a strange look and at times feels tilted and gives meek line readings.

That make him come across as a bit odd or more seeming like a character, actor, pro more eyeball rules, rather than leads or even villains. The film does pack a punch, but it’s not a lethal one. It’s more of a jab that will keep you entertained while watching though probably instantly forget once you’re done. It’s a great popcorn entertainment with a great cast that you wish had more to do.

as he just constantly sit through the film, waiting for all this to build up into something bigger and better or at least more and unfortunately, it doesn’t. It kinda goes out on a whimper rather than an extravaganza.

No, it’s not a lost cause, But  it’s nothing to write home about it. Does what it seeks out to do it entertains it makes you think you get caught up with the story and the characters but it’s just not that memorable and considering the cast that is on screen should be better.

Grade: C 

NIGHT CALL (2024)

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Directed By: Michiel Blanchart 

Written By: Michiel Blanchart, Gilles Marchand and Laurent Brandenbourger

Cinematography: Sylvestre Vannoorenberghe

Editor: Matthieu Jamet 

Cast: Joanthan Feltre, Natacha Krief, Jonas Bloquet, Romain Duris, Thomas Mustin, Sam Louwyck, Nabil Mahat 

This night is like all the others for Mady, student by day, locksmith by night. But Claire, the enigmatic young girl he helps out that night, is not who she claims to be. Mady has only one night to prove his innocence in a city in turmoil.

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This is a film I pretty much went in blind and so happy I did. As this film stays lively throughout.

This is one of those films and thrillers where it takes place all In One evening that seems endless. As a character had until dawn to get themselves out of trouble or else they are doomed. It is an International release from Belgium. Where you can recognize some of it’s Influences. 

The film offers the usual double crosses. Not truly being able to trust anybody. The cops are vicious as the criminals. So where do you turn.

The film also has the chaos of a Black Lives Matter protest with people and police filling the streets, as a background that they are operating in. Which are some of the elements that keep it from playing basic or typical. Truly the only innocent character is the lead who is desperately trying to get out of trouble. Though even he gets some blood on his hands. It also helps that the pace is rushed but doesn’t feel that way. it’s heart is always beating fast, but perfectly timed.

It also helps that the lead is African American who is being hunted and preyed upon by all these Caucasian characters throughout, which works as symbolism. As they are hunting and exploiting him, while he is the true innocent.

It’s so exciting and well put together. Offering very little fat. So that it stays quite lean and keeps moving. No time for side stories or any romance that might be hinted at in the beginning. it’s shocking that it was the directorial debut of Michiel Blanchart 

One thing I appreciated about this film is that it isn’t sentimental at all. It is rough and tough, dog eat dog. No last minute acts of mercy. 

It also stays gritty And believable. As the cast is newcomers and unrecognizable from any previous roles except for Romain Duris as the big bad. Not to mention a henchmen who looks like a scarily tough version of Jesse Eisenberg

if anything by the end you are left with some questions. As you know for the most part what happened, but you care so much you want to know what is next for the characters. Which shows that the film has grabbed you. Though to keep up it’s tough skin it stays a bit ambiguous.

Grade: B- 

OTHER (2025)

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Directed By: David Moreau

Written By: David Moreau and Jon Goldman

Cinematography: Julien Ramirez Hernan

Cast: Olga Kurylenko, Jean Schatz, Lola Bonaventure, Philip Schuler, Julie Mae’s, Anne Pascale-Clairembourg, Jacqueline Ghaye, Sacha Nugent

Alice returns to her childhood home after her mother’s death, only to find the house is rigged with surveillance tracking her every move, as a sinister presence lurks, driving her towards a terrifying revelation.

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I can think of worse ways to spend 90 minutes then with acresss Olga Kurylenko, who is good in the role. As the lead stretch stretching some acting muscle muscles. She hasn’t really been challenged to do before.

this is the rare starring role for her where she is front and center and truly gets to show dramatic depth in a role as for the most part, the film just follows her throughout this treacherous adventure that stays mysterious for most of the film so that it’s almost like we’re watching her play dress up through half the film as a former teen beauty contestant

This is one of those films, the end resolution you just wonder why we had to go through all of what we just did just to get here as it plays more weirder than it truly needs to be 

if there was a reason for the peculiarities, then at least it might’ve been worth it, but it just seems like the film is made that way just for that and I guess to keep it more of a mystery to the audience which again by the end just feels like it was over the top for no reason 

Now, while the film does have its moments and an ending, we should see coming, but still comes across as a very big moment of surprise. Which at least makes it feel somewhat satisfying though getting there just feels annoying.

As there are other characters in this film, but it pretty much feels like a one woman show throughout as Miss Kurylenko does most of the work and the heavy lifting

now, while this film might work for others as it is definitely a slow burn that is more of a drama with a thriller or horror elements. One can say that they were with the film halfway as it’s not much to do about nothing as there is substance here that seems to be yelled out a lot

Until all is revealed, and the impact and capacity truly takes over. So thoroughly throughout, you admire the filmmaking and how far it pushes the story and keeps the audience and suspense with the sense of mystery.

As it’s about buried hidden trauma that the film gives some clues along the way. Though I think we figured it out before her and the film literally spell out the ending what we come up with might be scarier than what we actually see at the end.

Even as it tries to be subtle about it, you can’t help but notice it just feels like the film is missing an element that would truly make it more noteworthy instead of feeling underwhelming by the end.

The film stays visually inventive, but at times it does feel like it’s being weird just to be weird. 

They left to wonder if there is a sequel will it keep the same mood? Will there be new secrets or become more audience friendly with Gore and blood baths?

By the end of you make it that far. You sneered you can decide if all of this film was worth the journey. That might have been just as effective as a short.

Grade: C

THE BIRTHDAY (2004)

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Directed By: Eugenio Mira

Written By: Eugenio Mira and Mikel Alvarino

Cinematography: Unax Mendia

Editor: Alejo Lewis 

Cast: Corey Feldman, Erica Prior, Jack Taylor, Dale Douma, Liz Lobato, Jim Arnold, Sue Flack, Colin Morgan

Norman, a young man very much in love with his girlfriend, attends her father’s birthday party, held in a hotel where a sect happens to be preparing for the birth of the god it worships.

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Jordan Peele recently resurrected this film from its straight to video origins, and it’s almost nearly forgotten existence after being lucky enough, and should be made aware of this film and view it by star Corey Feldman

Mr. Peele was blown away by the film so much and that he included it in a program series of films, he showed a film festival audience for draft House films to find it and restore it print and now released bigger and further than it ever did before, allowing for an audience, it never had and it should’ve had before especially as it was never theatrically released officially

So even behind-the-scenes, it has a miraculous story of building up an audience over the years and getting noticed as the film does certainly feel worth it even if by the end and it’s obscurity that doesn’t force the audience and audience actually think while watching it

Didn’t realize it was from the writer, Director of GRAND PIANO, Eugenio Mira. the movie at the time that totally didn’t live up to the hype, but there was something one could admire in it

That is the same thing I feel about the birthday or as I appreciate how it builds where at any point you could go anyway at first it’s more just an uncomfortable awkward comedy with Corey Feldman doing a voice, but his performance grows on you as does the movie with its oddball of characters that you can tell something is going on behind the scenes that you can’t , necessarily tell what’s going on, but you can feel. As the film has an undeniable style to it. 

Where this is the film goes along you are just happy for the main character played by Corey Feldman as he seems to go through different side adventures and trials, even if he comes across as more and more weak compared to what he is trying to achieve. 

Just like many of the supporting characters at first, he seems handled with a broad stroke before you finally start to get to learn things about him 

As the film goes along, and it seems to get crazier and crazier, more ridiculous, and a conspiracy plot thrown in the film as well where at first you are wondering if this is true and real, or just a misguided attempt by outsiders against the rich in a class struggle as the new challenge the for the main character it unfortunately looks like, What at first he dismissed as ideas of a mad person might actually be true.

As in the film he has to make certain decisions and sacrifices. Which we have seen him fumble earlier in the film, earlier but now must take action or make decisions for the fate of the future.

The film and the actors keep you invested as well as even though you can tell the film is low budgeted. It’s a tight production that makes it feel like it’s a film double or even triple budget has originality and imagination that it keeps you interested throughout I wish I could say it’s a slam dunk and one enjoys it as much as for the hype of its recovery.

I can’t say that I quite swallowed the Kool-Aid, but it wasn’t a bad drink. It didn’t necessarily grow on me. It’s a film that deserves to be seen and it certainly has found its audience. It’s not quite a classic, but it’s entertaining if you give it a chance. 

This will not be a film for everyone is a cult film, where I believe there is an audience that will appreciate it as strangely matching the suit that Corey Feldman wears. It feels more like a lounge act more than an up-and-coming stand from many will think about it, but it doesn’t quite rise to necessarily be a classic 

I’m not trying to badmouth the film nor am I saying it’s then but feel more like it’s in the middle of the road. There are plenty of things to admire about it, but there are certain things not quite as enjoyable or that hold it back from its own greatness

One can appreciate the time it takes to constantly keep building for the audience, though on the other hand, there’s also a sense that it doesn’t need to be as long as it is 

It’s a dark comedy at heart that grows on you as it has its own personality and a certainly an oddity that doesn’t try to reach too far. So definitely a film you can appreciate by it’s merits 

Grade: B-

EANIE MEENIE (2025)

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Written & Directed By: Shawn Simmons 

Cinematography: Tim Ives 

Editor: Chris Patterson and Dirk Westervelt

Cast: Samara Weaving, Karl Glusman, Andy Garcia, Steve Zahn, Marshawn Lynch, Jermaine Fowler, Mike O’Malley, Randall Park, Chris Bauer

A reformed teenage getaway driver is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend.

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This film comes so close, but no cigar as it does play out like an Elmore Leonard story or novel. As it has the gritty details, the quirky characters and the down on their luck protagonist.

It also has a story that is set in the underworld of crime and a high story that doesn’t overreach and make it seem like this is the score of the century or will set everyone up for life but more just a simple heist that will help all involved get out of previous trouble and be financially lucrative .

Even though it is mainly a crime story, it does take its time to be a character piece for the main character played by Samara weaving and explain her character’s choices, upbringing, and mentality, which helps, especially when she is essentially in love with a screwup 

The film has a great cast, but that is the problem while the quirky supporting character shine. We don’t really ever get enough time with them to learn maybe how they tick or just to enjoy them in general. It’s longer than blink and you miss them, but still not quite enough 

Even Marshawn Lynch, who is usually comedic gold in movies here has the chance to create such an iconic character, and while he does, what is necessary, his impact isn’t felt the way that it should nor strong as it should. It feels here more like he scripted rather than where his strength is an improv. 

Samara weaving as the lead is more of the straight woman, whereas she surrounded by all these crazy quirky characters so she lies at the heart of the film, and obviously the protagonist were rooting for .

The film stays surprising throughout as well as engaging with a surprisingly strong and down, tried ending of sorts, though it feels like there’s something missing to push it quite over the top to passable. 

As it is a film, that is entertaining enough, but not quite not worthy to play with the others in its genre. It comes across his lightweight, even though it does have some heavy material. Maybe it’s just because of the story that it tells you want it to be stronger.

Even with it quirky characters it’s surprisingly violent and hard hitting, but it still doesn’t quite make it to Mark

As the film does have the juice and the ingredients and even the recipe, but the taste isn’t quite uproot or tastes fine but not quite special as you had hoped. No matter how it tries. 

Grade: C 

THE LAST RUN (1971)

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Directed By: Richard Fleischer 

Written By: Alan Sharp

Cinematography: Sven Nykvist 

Editor: Russell Lloyd 

Cast: George C. Scott, Trish Van Devere, Tony Mustane, Colleen Dewhurst, Aldo Sandrell, Robert Coleby 

A former getaway driver from Chicago has retired to a peaceful life in a Portuguese fishing village. He is asked to pull off one last job, involving driving a dangerous crook and his girl-friend to France. However, the job turns out to be a double-cross and the trio are pursued back to Portugal where they make one last stand on the coast while the enemy assassins attempt to gun them down.

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This might seem typical for its time period. A getaway driver working on his last job after a semi retirement while it has its fair share of car chasing action sequences this film actually seems a little bit more existential.

Though this film had a lot going on behind the scenes. As originally it was set to be directed by John Boorman, until he and Scott disagreed on the script and then John Huston was brought into direct and filmed a few days before him and Scott’s arguing got so big and constant that he quit the film. Usually about the screenplay. Then finally Richard Fleishser was hired to direct the film but, as he was not considered an auteur as the other directors before him. He was never given Final Cut.

The other piece of trivia about this film is that this film spelled the end for his marriage to Colleen Dewhurst. As he met and fell in love with his co-star Trish Van Devere on this film and married her a year later. She wasn’t even the first choice of leading lady. Original director John Huston had hired another actress and Scott and him fought over re-casting the female lead and ended up with Van Devere. So that the relationships his character has with these two ladies on screen, mirrors his personal life in real life at the time.

So that this film is almost like George C. Scott’s. Person of THE GETAWAY in front of and behind the scenes.

That is pretty much said by the end of the film. As Scott’s character is pretty much almost a ghost having a last hurrah on a mission that he knows isn’t necessarily gonna be a suicide mission, but suspects that it might be and this is really the only time where he feels alive on the edge as the desire for survival awakens him, even though he’d rather be dead, especially after losing a child. 

there are points in the story where he could survive and surrender to romantic delusions of the safecracker who he busted out of jail girlfriend as a safe cracker seems to be pretty much a career criminal and wants to be one who idolizes the lifestyle, but is sloppy and not exactly respectful and see George C.  Scott’s character more as ancient and on his way out whereas himself he is one of the new players

Throughout the film, there are constant double crosses, triple crosses, and surprises that keep the story lively, but the film is strangely a lot more greedy and grounded than expected even with international localales 

The film has very few cast members and stay small scale, but feels bigger than just the story it’s telling. It feels more soulful than it should and one wonders is it the script or is it the cast under the direction of Randall Fleischer?

As the director adds plenty of great visuals, but it’s the performance is that really ground the film and make it more noteworthy and effective than expected 

Grade: B 

FRANKENSTEIN (2025)

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Written & Directed by Guillermo del Toro

Based on the novel “FRANKENSTEIN OR THE MODERN PROMETHEUS” ByMary Shelly 

Cinematography: Dan Laustsen 

Editor: Evan Schiff 

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Charles Dance, David Bradley, Ralph Ineson, Lars Mikkelsen, Nikolaj Lie Kaas, Lauren Collins, Sofia Galasso 

Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

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Guillermo del Toro’s adaptation of Frankenstein arrives with the kind of anticipation usually reserved for cinematic pilgrimages. It’s a long-gestating passion project by a filmmaker whose devotion to monsters borders on religious. And yes, it’s gorgeous. Ravishing. Sculpted with the kind of gothic precision that makes you want to pause the frame and hang it in a museum (which, ironically, is part of the problem).

Because for all its visual majesty, the film feels less like a living, beating story and more like a beautifully lit museum chamber piece sacred, admired, but curiously still. Almost like a Wes Anderson film

Watching Frankenstein at home, even on the biggest TV you can justify without shame, is like trying to view a cathedral through your peephole. You get the idea, but not the impact. As The film Is A Gorgeous Experience That Never Quite Comes Alive

Del Toro stages the movie like a theatrical spectacle; wide, grand, operatic. It demands an audience seated in the dark, collectively hopefully

holding their breath. On a smaller screen the whole thing compresses, and so does its emotional force. It becomes one more thing you’re “watching while also texting,” its larger-than-life gestures suddenly feeling muted. Which might be why this film doesn’t reach me. As much as it would in a theater more secluded and direct. 

It’s a reminder of an uncomfortable truth: not every film needs the big screen, but this one absolutely does. Shrink it, and the soul shrinks with it.

A friend once described last year’s NOSFERSTU remake as “a museum piece”—impeccable, reverent, exquisitely lit, styled, designed and emotionally distant. It comes off more as a presentation than a movie. Del Toro’s Frankenstein often slips into that same territory.

The sets are Immaculate. The creature design is inventive. The mood? Pretentiously Overwhelming in the best way.

And yet… it rarely moves you. The emotions are presented but not felt. They are laid before the viewer with academic seriousness, like annotations on a text everyone already knows by heart. Maybe that’s the curse of remaking a story we’ve collectively known since childhood: the beats land, but they don’t surprise.

It becomes less a story and more an opportunity to witness someone else’s interpretation of a myth you’ve heard too many times.

Del Toro is too talented to ever make something bad, but here he feels like a director in his Tim-Burton-phase: Instead of breaking new ground, he’s lovingly recreating  the things that inspired him growing up. Unlike Burton, del Toro doesn’t defang his monsters or turn them into punchlines. He actually adores them too much for that, but the result is still a filmmaker circling familiar territory rather than charting new routes. 

And yes, the del Toro signature remains: a gothic romance at the center, a creature yearning for connection, a broken heart inside a larger-than-life body. It’s easy to see what drew him to the material. It’s also easy to wish he’d returned to an original idea instead.

Christoph Waltz—shockingly—goes big. He’s operatic, but also the kind of actor who benefits from stern directorial supervision. Left unchecked, he can become his own genre. Here, he hovers just on the edge of self-parody, charismatic but distracting. 

The rest of the cast plays it with earnestness and restraint, letting del Toro’s production design do most of the heavy emotional lifting. Sometimes too much.

So… Is It Good? Absolutely. Is it essential?

Not quite. As Frankenstein is an achievement, a vision, a painterly triumph. But it’s also one more retelling of a story that has been told so many times it now arrives pre-interpreted. Beautiful, yes undeniably. But also strangely hollow, like an echo of itself.

It’s a noteworthy film, worth admiring, worth seeing on the biggest screen you can find.

But it’s not a new favorite. More a reminder of what del Toro can do… and what we wish he’d dare to do next.

Grade: B 

HONEY DON’T (2025)

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Directed By: Ethan Coen 

Written By: Ethan Coen & Tricia Cooke

Cinematography: Ari Wegner 

Editor: Tricia Cooke and Emily Denker 

Cast: Margaret Qualley, Chris Evans, Aubrey Plaza, Charlie Day, Lera Abova, Billy Eichner, Talia Ryder, Kristin Connolly, Jacnier

A dark comedy about small-town private investigator Honey O’Donahue, who delves into a series of strange deaths tied to a mysterious church.

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When it comes to this film’s plot. One can understand like their last collaboration DRIVE AWAY DOLLS. Writer Directors Ethan Coen and Tricia Cooke. Like to have multiple narratives going on all at once that run parallel to each other even if just in theme and eventually run into or connect at certain points. That seems like it will be the big payoff. Here the themes are there but everything feels like a near miss. 

Feels a bit exploitive as it seems more interested in showing a lesbian sexual relationship than anything else. Rather then story or plot and put it in there haphazardly so that it feels random 

Even though it might be that the main Character is interesting and this has bits and pieces especially with the characters.  that could have been more of a small town mystery but plays more sporadically and you wonder where it is going and how it will all tie together that you feel like you are floating through it all waiting for some kind of direction other then Suggestions 

Starring the director’s muse Margaret Qualley Whitney’s to play the most interesting character and gets the most range 

Of course the film has a heavy feminist feel which there is nothing wrong with but it seems to pile it on after awhile rather then necessarily subtle 

It has a supporting cast of recognizable names that are here but given very little to do except play small exaggerations and somewhat central to the plot but feel more like stunt casting to add more reverence to the rather thin material. As the characters seem interesting but are in search of a better story and meaning. As next to qualley the only actor who really makes the most of their screen time is Lena Abrova as the mysterious cheer 

Wonder if this is a way for the filmmakers to add sex and sexuality back into films that seems to be lost or unused in modern cinema but truly it isn’t erotic but more sloppy and matter of fsct

There is now doubt that Ethan Coen can do quirky and can do the same with characters, but there needs to be some kind of meaning and consideration for the audience. As this film while silly and quirky does come out feeling self indulgent and like only the filmmakers are the only ones. It only entertained but also seem to care 

As this film feels more like a lark, more like an extended episode rather then truly a whole film 

By the time we get to the entrance walls revealed it seems rather random or much ado about  it nothing and all just coincidence and interlocked and it plays more comedic then it should more like a from a John waters film 

The film has its moments but doesn’t add up to making the film feel worth it. 

Grade: C-

MAGGIE MOORE(S) (2022)

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Directed By: John Slattery

Written By: Paul Bernham 

Cinematography: Mott Hupfel

Editor: Tom McArdle

Cast: Jon Hamm, Tina Fey, Michael Stock, Nick Mohammed, Happy Anderson, Derek Basco, Louisa Krause, Mary Holland, Christopher Denham, Bobbi Kitten

Police Chief Sanders investigates the bizarre murders of two women with the same name and unravels a web of small-town lies. He meets and quickly falls for Rita, a nosy neighbor who is eager to help solve the mystery.

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This is a cute Earnest detective story, that still manages to offer some twist and shocks by the end, even though it plays a little bit more like a personal procedural where we see the crime or least most of the crime before it happens, and we know the motives behind the crimes but we watch as the characters deal with the aftermath and we wait to watch the police slowly figure out what’s going down. As well as provide a romantic comedy element. 

what keeps you interested in this film is other than the crime aspect is the lead played by John Hamm and his virginalling relationship with a neighbor of one of the victims played by Tina Faye, and how they play off of each other bonding over the case but then getting to know one another and at first what looks like friendship becomes a slow burn romance that has its own challenges

even though this is based off of a true story, it’s not quite as dark as let’s say a film like Fargo, but it has the characteristics like it’s a lightweight version of it where there is hope and there’s room for more comedic caricatures, but most of the characters are also three-dimensional, even when they feel quite familiar and identifiable

so that in the end, this film doesn’t offer anything new. It could almost be an episode of poker face more shows in that manner like Elsbeth but only here we at least get original characters investigating that makes this film all the more interesting and more of an Odyssey as we get to know everyone involved and don’t know anyone as soon as we come in.

Jon Hamm stars in the film and his old costar from the show MAD MAN John Slattery directs the film. So what while that show has finished this almost feels like a fun side project for them to collaborate on.

The only unbelievable point of the film is that Jon Hamm is a bachelor and he can’t find too many women interested in him throughout except for Tina Fey.

The film at times is a bit offbeat yet traditional. more like a sitcom version of FARGO not the FX series, though it doesn’t feel as deep, but it is filled with strange characters that feel original and comedic at the same time.

The film is enjoyable as long as you don’t put your hopes up as it is more a slow burn character piece with some crime and comedic elements. Don’t expect a big knives out type mystery. just watch and let yourself be charmed by the film. Perfect for the armchair detective in us all.

Grade: B- 

ROUNDING (2022)

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Directed By: Alex Thompson 

Written By: Alex Thompson and Christopher Thompson

Cinematography: Nate Hurtsellers 

Editor: Michael S. Smith 

Cast: Namir Smallwood, Sidney Flanigan, Michael Potts, Rebecca Spence, Charin Alvarez, Nedirah Best, Cheryl Lynn Bruce, David Cromer 

A driven young medical resident transfers to a rural hospital for a fresh start. There, the demons of his past start to catch up to him when he becomes consumed by the case of a young asthma patient.

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This is what I’m thankful for the SHUDDER channel. As even though it’s more devoted to all kinds of horror films, maybe a little sci-fi they are also a channel that seems to welcome foreign films and many different genre of movie that might have a supernatural or horror element to them which ends up with the channel housing a lot of Indie films that might not have necessarily gotten released on other streaming channels. It might leave some of the channels fans who want strictly hard a bit disappointed, but it might also open them up to different films, they never would’ve given a chance to. Like this one

This is a film that again is better off unless you know about it as it’s stronger the more of a mystery it is. 

As it is more of a psychological thriller or psychological drama. About a medical student who after an accident has a breakdown and decides to try to get back on his feet by transferring to a more remote program. Where stress rears its ugly head, especially when it comes to a young woman’s case.

That he decides to investigate and the deeper he seems to get the more disturbed his behavior becomes the more resistance. He comes against where it does become a situation. Where is he the only one seeing this or is it all in his head or is he just getting two clips as the film goes along? We see him slowly unravel where even we aren’t sure if he is a reliable protagonist.

This is a film that has twist and turns, but is not entirely reliant on them to tell the story they just naturally come about and only add to the cold clinical exterior of the film. They eventually becomes devastating.

Namir smallwood really holds his own and truly dazzles as the lead in this film. He give the film gravity and fen be scary when he needs to be.

This is one of those films that is more lower budget and seems like a small story but ends up having a massive impact on the viewer. It does have its fair sheriff scares, but more than anything. It’s uncomfortable and unsettling more than anything else. So special mention must be made of what it manages to achieve with seemingly so little. It truly stays captivating and even a bit gross 

Grade: B-