Peculiarity, comedic timing, and farts combine into the sublime and surreal.
Sentimental but uneven, the unpacking of its inherent mystery creates a semblance of tension that’s unfortunately foiled by it’s lack of originality.
All together disappointing, Life After Beth is deadpan enough for a few laughs, but fails to raise a pulse.
Claustrophobic and wry, LFO, explores the delusions of a disturbed sound engineer to examine contemporary philosophy and morality.
At points touching and absurd, Mr Nobody, feels its way through genre and coherence revealing a peculiar story of time travel and memory.
This measured horror creates a tense atmosphere but fails to elicit anything other than a vague sense of unease.
Saturated with big budget action sequences and one-liners, The Avengers: Age of Ultron, is as entertaining as it’s predecessor.
Taut with it’s perspective on faith and relationships in a cynical world, Calvary is both darkly funny and effecting.
Convincing with it’s light amateur documentary style, The Taking of Deborah Logan, creeps into horror with razor-sharp tension and intelligent timing.
Touted as the first Iranian Vampire Western, A Girl Who Walks Home at Night, seduces with an atmospheric cinematography and a fresh, albeit vague, perspective on vampire lore.