CATASTROPHE BALLET
As evening falls, knowing the dark for light
CATASTROPHE BALLET
As evening falls, knowing the dark for light
Review
Our Hero, Balthazar review – perceptive dark comedy
3 Weeks After – first-look review
Rosebush Pruning review – a dark-hearted, button-pushing hoot
Thoughts On S/He Is Still Her/e – The Official Genesis P-Orridge Documentary
Pigeon Shrine FrightFest Review: Azrael: Angel of Death Delivers Dialogue-Free Action Horror
LOCKBOX Review: Uneven Supernatural Horror Movie with TWIN PEAKS DNA
THE BIG COMBO 4K UHD Review: Restored 1955 Classic, Where Information Is Essential
CAMP Review: Unraveling the Divine Contradictions of Mourning
The Last Viking review – Danish dark comedy is a bonkers ride
Dances With Films 2026 Review: LITTERMATES, When Safety Is Not Sufficient
UNIDENTIFIED Review: Making Sure the Victim Receives Justice
Chattanooga 2026 Review: NIGHT AFTER NIGHT, Atmospheric Sci-Fi Horror Suffers from Narrative Ambiguity
LEVITICUS Review: Queer Horror Becomes Frighteningly Literal
ROSE OF NEVADA Review: Ancient Ways That Still Rule Us All
THE DEATH OF ROBIN HOOD Review: Brutality and Sweetness Battle to Affirm the Importance of Stories
Effi O Blaenau review – stealthy socialist propaganda
VIRGINIA WOOLF’S NIGHT & DAY Review: Frothy and Funny Modernization of a Lesser-Known Classic
Lesbian Space Princess review – a Sapphic sci-fi romp
Tribeca 2026 Review: ONLY WHAT WE CARRY, More Poetic Than Profound
Tribeca 2026 Review: In DEATH BOOM, Eli Roth Narrates a Brutally Honest, If Not Brutal, Exposé of the Funeral Industry
Tribeca 2026 Review: SKATEBOARDING IS NOT FOR GIRLS, Bittersweet Tale of Girlhood Realities
CHARADE Blu-ray Review: Spies, Danger, Laughs and Fashion an Eclectic Criterion Mix
Tribeca 2026 Review: KILLING CASTRO, Neat Thriller Based on Incredible Real Story
Tribeca 2026 Review: ACT ONE Turns Acting Class Into Unsettling Power Struggle
Tribeca 2026 Review: ICONOCLAST, Impressive Debut Thriller About (Ir)reality of Love
Tribeca 2026 Review: HALLOWARRIOR, Post-Apocalyptic Horror Take on HOME ALONE, Both Bloodthirsty and Sweet
Tribeca 2026 Review: PONDEROSA, Surreal Brain Teaser Is Bogged Down by Its Own Ambition
THE DEVIL QUEEN Review: Blood and Glitter in the Streets of Rio
Tribeca 2026 Review: CROOKS, Film Noir Pastiche Finds Its Footing in Melora Walters’ Feral Performance
KRAKEN Review: A Beast Burdened By Clichés
FIND YOUR FRIENDS Review: Girls’ Trip Fractures Into a Fight for Their Lives
Time and Water review – a lament for a disappearing world
FIVE EASY PIECES 4K Review: Jack Nicholson Self-Destructs
Disclosure Day review – distinctly lacking in patented Spielberg magic
Tribeca 2026 Review: BREEDER Wants to Make You Really Uncomfortable, and It Probably Will Succeed
The Boy with the Light-Blue Eyes – first-look review
Tribeca 2026 Review: COLORS OF WHITE ROCK Documents Struggles of Mongolian Truck Driver
Tribeca 2026 Review: THE HAUNTING OF PENNHURST Once Again Proves the Most Relevant Horror Comes in Documentary Form
Cannes 2026 Review: SPECIES (SANGUINE) Is THE SUBSTANCE for the Burnout Generation
In the Hand of Dante review – a high-minded mess
Savage House – first-look review
Feast or Famine – first-look review
The Fall Of Sir Douglas Weatherford review – disappointingly flat
Tribeca 2026 Review: CAITY, Haunted House Coming of Age Story
Tribeca 2026 Review: In SUMMER WAR, The War Games Continue
Tribeca 2026 Review: THE REVISIONIST Sets Out to Explore the Process of Creating Plots, but Loses Its Own
Tribeca 2026 Review: TURN IT UP!, Valiant Attempt at Old-Fashioned Comedy Sci-Fi That Doesn’t Fully Land
Tribeca 2026 Review: COTTON FEVER, Familiar Addiction Story, Yet Vastly Different
