This Is Not a Burial, It’s a Resurrection
Mantoa (Mary Twala Mhlongo), an 80-year-old woman, has lived in a small Lesotho village for her entire life. While preparing for her own death, she receives word of an accident that has killed her only son, leaving her entirely alone, with only the respect of her community, the traditions of her ancestors, and the courage of her convictions. When her community must relocate to make way for a nearby dam which would flood her family’s burial ground, Mantoa draws a line in the sand and becomes an unlikely political and spiritual leader.
NOT RATED. CONTAINS THEMATIC MATERIAL.
Description and score provided by Metacritic.
“This Is Not a Burial, it’s a Resurrection is arthouse cinema at its best, a lyrical eulogy from a confident auteur whose poetic touch is meticulous and grand.” – Jenny Nulf, Austin Chronicle
“I recommend seeing it more than once; luckily, it’s so gorgeous and spellbinding that it invites repeat viewings.” – Bilge Ebiri, Vulture
“This Is Not A Burial, It’s A Resurrection offers a vivid, beautifully crafted reflection on identity, community and the tension between respecting age-old traditions and accepting the seemingly unstoppable march of progress.” – Allan Hunter, Screen Daily
As They Made Us
Abigail (Dianna Agron), a divorced mother of two, is struggling to balance the dynamic forces within her dysfunctional family as she attempts to cultivate new love.
RATED R FOR LANGUAGE.
Description and score provided by Metacritic.
“As They Made Us shines because of its cast.” – Alan Ng, Film Threat
“Even with veterans like Hoffman and Bergen, it’s Agron’s film. She and Bialik make Abigail’s filial loyalty as sympathetic as it is exasperating, and as rife with difficult truths about aging as it is understatedly hopeful about growing up.” – Lisa Kennedy, New York Times
“As They Made Us is clearly a personal debut effort for Bialik, but she shows enough confidence behind the camera to make you curious about whatever other stories she has to tell.” – Christy Lemire, RogerEbert.com
White Elephant
When an assassination attempt is witnessed by two cops, Gabriel Tancredi, an ex-marine turned mob enforcer (Michael Rooker), is ordered by his ruthless mob boss (Bruce Willis) to eliminate any and all threats. With an eager underling out to prove himself, rival gangs making moves and a rising body count, every step Tancredi makes threatens lives… including his own.
NOT RATED. CONTAINS STRONG VIOLENCE AND LANGUAGE.
Description provided by Metacritic.
“There’s nothing really original about White Elephant. But that doesn’t stop it from being both thoroughly entertaining and genuinely captivating as the crime action thriller is elevated by a fine leading performance from Michael Rooker.” – Gregory Wakeman, The National
Sonic the Hedgehog 2
After settling in Green Hills, Sonic is eager to prove he has what it takes to be a true hero. His test comes when Dr. Robotnik returns, this time with a new partner, Knuckles, in search of an emerald that has the power to destroy civilizations. Sonic teams up with his own sidekick, Tails, and together they embark on a globe-trotting journey to find the emerald before it falls into the wrong hands.
RATED PG FOR ACTION, SOME VIOLENCE, RUDE HUMOR, AND MILD LANGUAGE.
Description and score provided by Metacritic.
“Sonic the Hedgehog 2 is the confident sequel the original left me hoping for, with a sharper script and jokes that’ll leave you giggling. It maintains the original’s family friendly tone and dives into the classic games to create a cinematic universe for Sega’s beloved icon.” – Sean Keane, CNET
“Sonic the Hedgehog 2 is a fast-paced romp that’s silly, filled with quips and unabashedly for children — which is refreshing, coming at a time when so many other children’s franchises have succumbed to Sturm und Drang.” – Amy Nicholson, New York Times
“The screenplay reflects actual effort, and Jim Carrey gets to be unfettered in his performance, leading a surprisingly satisfying follow-up.” – Carlos Aguilar, The Wrap
Dakota
Dakota, an ex-service dog, joins single mom Kate (Abbie Cornish) and her daughter Alex (Lola Sultan) to live on their small-town family farm. Dakota quickly adjusts to her new home and becomes somewhat of a local hero, soon becoming inseparable from Alex. But when the farm’s existence is threatened by the town’s rogue sheriff (Patrick Muldoon), Dakota must help the family band together and save the land.
NOT RATED. CONTAINS MILD LANGUAGE AND THEMATIC MATERIAL.
Description provided by Metacritic.
“For a family film with after-school-special vibes, it lands exactly where it should. Dakota and Alex take center stage with a story and characters that are engaging for kids and make for distracting cinematic ‘comfort food’ for adults.” – Bradley Gibson, Film Threat
“Whether you’re a dog-lover, or just enjoy wholesome family entertainment, Dakota hits the right spot for canine appreciation.” – Eddie Harrison, film-authority.com
Men
In the aftermath of a personal tragedy, Harper (Jessie Buckley) retreats alone to the beautiful English countryside, hoping to have found a place to heal. But someone or something from the surrounding woods appears to be stalking her. What begins as simmering dread becomes a fully-formed nightmare, inhabited by her darkest memories and fears.
RATED R FOR DISTURBING AND VIOLENT CONTENT, GRAPHIC NUDITY, GRISLY IMAGES, AND LANGUAGE.
Description and score provided by Metacritic.
“Garland’s bold, original version of what horror can be when it swaps tired old tropes for visceral, visionary thrills is an absolute game-changer.” – Kate Stables, Total Film
“Garland is a master at ratcheting tension to an almost unbearable degree, and he flexes that muscle hard in Men. The way he gradually presses the acceleration pedal, allowing the narrative to gather momentum until it almost implodes in its final third, is really quite remarkable.” – Alex Saveliev, Film Threat
“Whatever your reaction is to the latest meticulously made mind warp from writer/director Alex Garland, it won’t be indifference. This is a visceral experience, and it reinforces Garland’s singular prowess as a craftsman of indelible visuals and gripping mood.” – Christy Lemire, RogerEbert.com
Crimes of the Future
As the human species adapts to a synthetic environment, the body undergoes new transformations and mutations. With his partner Caprice (Léa Seydoux), Saul Tenser (Viggo Mortensen), celebrity performance artist, publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.
RATED R FOR STRONG DISTURBING VIOLENT CONTENT AND GRISLY IMAGES, GRAPHIC NUDITY, AND SOME LANGUAGE.
Description and score provided by Metacritic.
“This is what the work of a visionary filmmaker looks like. Forget the new flesh. Long live the old Cronenberg.” – David Fear, Rolling Stone
“It’s marvelous to have Cronenberg back and to behold his undimmed, unparalleled skill at welding the formulations of horror and science fiction to the cinema of ideas.” – Justin Chang, Los Angeles Times
“Crimes of the Future is Cronenberg to the core, complete with its fair share of authorial flourishes (the moaning organic bed that its characters sleep in is a five-alarm nightmare unto itself) and slogans (‘surgery is the new sex’). At the same time, however, this hazy and weirdly hopeful meditation on the macro-relationship between organic life and synthetic matter ties into his more wholly satisfying gross-out classics because of how it pushes beyond them.” – David Ehrlich, IndieWire
Pam & Tommy
The marriage between Pamela Anderson (Lily James) and Tommy Lee (Sebastian Stan) and how their sex tape became public is at the center of this limited series from Seth Rogen and Evan Goldberg.
RATED TV-MA FOR STRONG SEXUAL CONTENT, GRAPHIC NUDITY, VIOLENCE, STRONG LANGUAGE, DRUG USE, SMOKING, AND THEMATIC MATERIAL.
Description and score provided by Metacritic.
“The show performs an impressive turn around the halfway mark, reeling us into the personal lives of the people at the center of the scandal and telling an even stronger story about celebrity, the paper-thin divide between publicity and privacy, and what happens when human intimacy is swallowed up by glossy headlines.” – Carly Lane, Collider
“Pam & Tommy is funny, emotional, and an incisive look at a story many still believe they know. James and Stan are astounding, with the former completely transforming herself physically and utilizing that to show Anderson as the fully realized person she was never allowed to be.” – Kristen Lopez, IndieWire
“Pam & Tommy is far more than a sniveling, pervy time machine revisiting a salacious sex scandal that’s been mocked for decades. But the genius is that it is also that: sniveling, pervy, and canny about the scandal and the mockery that piqued all of our attention in the first place.” – Kevin Fallon, Daily Beast
Hampstead
Though Emily (Diane Keaton) and Donald (Brendan Gleeson) live in the same idyllic London neighborhood of Hampstead, the worlds they inhabit could not be more different. She is an American widow occupying a posh apartment she can no longer afford and filling her time with charity work as she struggles to figure out a next step. He is a gruff Irish loner who lives off the land in a makeshift cabin and wants nothing more than to be left in peace. When his home is threatened by greedy real estate developers, Emily believes she has found her new cause—but gets more than she bargained for when unexpected romance blossoms. Based on an inspiring true story, Hampstead is a buoyant, sparklingly witty tale of two underdogs who took on the system and showed a nation that heart is where the home is.
RATED PG-13 FOR SOME SUGGESTIVE MATERIAL AND LANGUAGE.
Description and score provided by Metacritic.
“Overall, the lively, unfussy Hampstead goes down easy.” – Bilge Ebiri, New York Times
“Hampstead is a perfectly good romantic dramedy.” – Lorry Kikta, Film Threat
“Keaton’s terrific, and it’s sweet and airy and so unhurried you really feel like you’ve had a nice afternoon in the long grasses and cool breezes on the edge of the city.” – Jason Solomons, The Wrap
Nitram
Nitram (Caleb Landry Jones) lives with his mother (Judy Davis) and father (Anthony LaPaglia) in suburban Australia in the Mid 1990s. He lives a life of isolation and frustration at never being able to fit in. That is until he unexpectedly finds a close friend in a reclusive heiress, Helen (Essie Davis). However, when that relationship meets a tragic end, and Nitram’s loneliness and anger grow, he begins a slow descent that leads to disaster.
NOT RATED. CONTAINS VIOLENCE, THEMATIC MATERIAL, STRONG LANGUAGE, AND DRUG USE.
Description and score provided by Metacritic.
“A remarkable piece of work.” – Donald Clarke, The Irish Times
“In the end, Jones’ performance is even more lifelike than I feared — a tortured and astonishingly nuanced rendering of a childlike creature whose id could only be tempered by love for so long before it chose violence instead. And it should go without saying that Kurzel’s fatalistic storytelling so pungently exhumes the pain that led up to that awful day in April 1996 that you can smell the death coming several hours in advance.” – David Ehrlich, IndieWire
“Featuring standout performances from Landry Jones and Davis, Nitram is uncomfortable, demanding viewing. It is the kind of work that presses on a nerve, begging you to stand up or tune out, but compelling you forward nonetheless – with its haunting portrayal of our all too boring capacity for inflicting pain.” – Amil Niazi, The Globe and Mail
Gunda
Experiential cinema in its purest form, Gunda chronicles the unfiltered lives of a mother pig, a flock of chickens, and a herd of cows with masterful intimacy. Using stark, transcendent black and white cinematography and the farm’s ambient soundtrack, director Victor Kossakowsky invites the audience to slow down and experience life as his subjects do, taking in their world with a magical patience and an otherworldly perspective. Gunda asks us to meditate on the mystery of animal consciousness and reckon with the role humanity plays in it.
RATED G. CONTAINS SOME MILD DISTURBING CONTENT.
Description and score provided by Metacritic.
“A highly original, singularly beautiful film.” – Donald Clarke, The Irish Times
“Gunda is one of the most immersive and eye-widening documentaries I’ve ever seen.” – Peter Rainer, Christian Science Monitor
“Even those resistant to Gunda’s vegetarian message would be hard-pressed to describe these creatures cavalierly having witnessed these exquisitely framed, highly meditative moments. We see life within these beings, and we witness their undeniable will to live. And it’s beautiful. Gunda is truly one of a kind.” – Kim Hughes, Original Cin
We’re All Going to the World’s Fair
Late on a cold night somewhere in the U.S., teenage Casey sits alone in her attic bedroom, scrolling the internet under the glow-in-the-dark stars and black-light posters that blanket the ceiling. She has finally decided to take the World’s Fair Challenge, an online role-playing horror game, and embrace the uncertainty it promises. After the initiation, she documents the changes that may or may not be happening to her, adding her experiences to the shuffle of online clips available for the world to see. As she begins to lose herself between dream and reality, a mysterious figure reaches out, claiming to see something special in her uploads.
NOT RATED. CONTAINS LANGUAGE, VIOLENT AND DISTURBING IMAGERY, AND THEMATIC MATERIAL.
Description and score provided by Metacritic.
“We’re All Going to the World’s Fair isn’t just a movie about connecting, it’s about becoming. It’s a powerful acknowledgement of how confounding and frightening young adulthood can be. But it’s also a film about hope.” – Joshua Rivera, Polygon
“By framing her characters’ inventiveness with boldly bizarre imagery, Schoenbrun is getting at what makes internet horror such a unique mode of cinema. The viewer is unsettled not just by the content, but by their ambiguous relationship to who’s sharing it.” – David Sims, The Atlantic
“Schoenbrun, a native speaker of the language of the internet, has uploaded into the cinematic landscape one of the most thoughtful depictions of self-discovery in the digital age. Through Casey’s plight of suburban isolation, the artist reaches out to us from a corner of the web’s endless abyss with an unmissable invitation, quite literally demonstrating the transcendental prowess of storytelling.” – Carlos Aguilar, Los Angeles Times
Dead Pigs
A bumbling pig farmer, a feisty salon owner, a sensitive busboy, an ambitious expat architect and a disenchanted rich girl converge and collide as thousands of dead pigs float down the river towards a rapidly modernizing Shanghai, China. Based on true events.
NOT RATED. CONTAINS LANGUAGE, MILD VIOLENCE, AND SMOKING.
Description and score provided by Metacritic.
“Dead Pigs’s intermingling of grit and polish is hugely satisfying: a potent combination of pearls and swine.” – Robbie Collin, The Telegraph
“A bold social satire that never loses its sense of fun, Dead Pigs finally lets us confirm what Birds Of Prey already suggested: Cathy Yan has a sharp eye and a fearless voice — we’re lucky to have her.” – Ella Kemp, Empire
“Yan’s film mines several prominent social issues to contextualize the improbable plot, including socioeconomic mobility, environmental degradation and market speculation. Rather than just documenting their prevalence, she demonstrates how they coalesce to create a conflicting array of impacts for her characters.” – Justin Lowe, Hollywood Reporter
Hot Seat
IT expert Friar (Kevin Dillon) finds a hair-trigger bomb strapped to his desk chair. An unseen hacker orders him to steal digital funds online—or have his daughter abducted. As a fearless bomb expert (Mel Gibson) arrives on the scene, the hacker frames Friar as the bomber. The tension mounts as Friar races to clear his name and expose the real terrorist—without getting himself blown to smithereens.
RATED R FOR LANGUAGE THROUGHOUT AND SOME VIOLENCE.
Description provided by Metacritic.
Last Seen Alive
Will’s soon-to-be ex-wife mysteriously vanishes at a gas station. He delves into the town’s criminal underbelly while running from the authorities in a race against time to find her.
RATED R FOR PERVASIVE LANGUAGE, VIOLENCE, AND SOME DRUG MATERIAL.
Description provided by IMDb.
Frank & Penelope
Frank is on a road to nowhere when he stumbles into a run-down strip club where he sees Penelope dancing on a wobbly brass pole. This chance encounter ignites a love story that burns hotter than the West Texas blacktop. Leaving their broken lives in the rearview mirror, Frank and Penelope head West with no destination in mind but each other. But a chance meeting leads them to the “Table of Truth” with a seductive, charismatic cult leader who has a penchant for travelers’ darkest secrets – and his own ideas on sins of the flesh.
RATED R FOR STRONG VIOLENT CONTENT, SEXUAL CONTENT, BRIEF NUDITY, LANGUAGE THROUGHOUT, SEXUAL ASSAULT, AND SOME DRUG USE.
Description provided by Metacritic.
“It is an offbeat, twisted thriller about love, violence, psychopaths, and redemption. This type of film isn’t for everyone, but that’s what indie filmmaking is all about.” – Jason Delgado, Film Threat
“Somehow, there’s more than a little bit of fun to be had in this oddball little throwback, filled with mischievous glee and a sullied heart of gold.” – Richard Whittaker, Austin Chronicle
Naomi: Season 1
Naomi (Kaci Walfall) learns more about her origins after a supernatural event happens in her home town of Port Oswego in this superhero series based on the comic book series of the same name.
RATED TV-14 FOR MILD VIOLENCE.
Description and score provided by Metacritic.
“Naomi does manage to stand out by virtue of being one of the most character-focused superhero endeavors to date. Presuming it continues on that path, there’s a lot of promise in store.” – Liz Shannon Miller, Consequence
“It’s a welcome departure from The CW’s slate of otherwise too-often grim superhero dramas, and a smart blend of genre tropes that should fit well on the network should it allow it enough time to let Naomi’s more unique story unfold.” – Caroline Framke, Variety
“It’s refreshing to see a high-schooler who’s a smart, driven academic success and is also universally liked, and who’s popular but not a queen bee or mean-girl type. Naomi is mighty wholesome, with its pansexual flirtations and warmly supportive, non-competitive central female friendship. But that also makes Naomi feel a bit too perfect to be real.” – Tasha Robinson, Polygon
1883: Season 1
The Yellowstone prequel set in the 1880s follows James and Margaret Dutton (Tim McGraw and Faith Hill) as they move their family to start a new life on Montana.
Description and score provided by Metacritic.
“1883 hits all the right notes as an absorbing piece of fiction.” – Michael Starr, New York Post
“It is a beautifully produced ode — complete with superstar cameos — to grim nation building and the initial episodes are uncompromising and compelling.” – Craig Mathieson, The Age
“Even for viewers who have yet to delve into Yellowstone, the tension and intensity is compelling.” – Kimberly Potts, The Wrap
The Curious Case of Dolphin Bay
It follows 15-year old Quinn Perkins, who will be spending the summer working as an intern with her best friend Daniela. Mysterious events start to occur, and they assume that they are being haunted by local legend Everly Fallow.
RATED TV-G.
Description provided by IMDb.
Ip Man 4: The Finale
Ip Man’s life remains unchanged after his wife’s death, but he and his son are slowly drifting apart. To seek a better future for his son, Ip Man decides to travel to the U.S. only to find the stable, peaceful life abroad is only skin deep. Underneath lies a deep-rooted racial discrimination that is far worse than he has expected. Ip Man re-examines his position and ponders on the reason he took up martial arts in the beginning.
NOT RATED. CONTAINS STRONG VIOLENCE AND MILD LANGUAGE.
Description and score provided by Metacritic.
“Ip Man 4: The Finale is a thrilling end to the Ip Man saga. The action is fast-paced, and the fighting is poetic. The story not only brings a modern twist to the legend but is just as relevant today as it was in the 70s.” – Alan Ng, Film Threat
“Ip Man 4: The Finale is apparently going to be the last time Yen dons the familiar black cassock to play Ip Man, and Yip orchestrates a fittingly spectacular finish to the saga.” – Scout Tafoya, RogerEbert.com
“There is no mystery about who wins the movie’s final bout, but it is never less than thrilling to watch Yen’s fluttering limbs in action.” – Ben Kenigsberg, New York Times
Gaia
An injured forest ranger on a routine mission is saved by two off-the-grid survivalists. What is initially a welcome rescue grows more suspicious as the son and his renegade father reveal a cultish devotion to the forest. When their cabin is attacked by a strange being it’s clear there is a far greater threat in this unrelenting wilderness.
RATED R FOR SOME VIOLENCE AND BLOODY IMAGES, SEXUAL CONTENT, NUDITY, AND LANGUAGE.
Description and score provided by Metacritic.
“Gaia is a dazzling bio-horror excursion.” – Matt Donato, /Film
“Gaia uses its atmosphere to great effect.” – Hunter Lanier, Film Threat
“Everything about Gaia works in tandem to create a steadily escalating mood of Blastomycotic body-horror distress (including Pierre-Henri Wicomb’s anxiety-inducing score). Fans of Jeff VanderMeer’s Southern Reach trilogy and its Annihilation adaptation, and lovers of the defiantly feminine and vengeful natural world will find plenty to chew on in Gaia.” – Marc Savlov, Austin Chronicle
All Light, Everywhere
All Light, Everywhere is an exploration of the shared histories of cameras, weapons, policing and justice. As surveillance technologies become a fixture in everyday life, the film interrogates the complexity of an objective point of view, probing the biases inherent in both human perception and the lens.
NOT RATED. CONTAINS LANGUAGE, VIOLENCE, AND THEMATIC MATERIAL.
Description and score provided by Metacritic.
“In a manner that is patient — and sometimes even playful — rather than polemical, All Light, Everywhere contributes to debates about crime, policing, racism and accountability.” – A.O. Scott, New York Times
“All Light, Everywhere is, most importantly, a history of our technological attempts to offer objective views of the world. But instead of charting our striving to capture of reality, what is revealed is its fabrication.” – Christopher Machell, Cinevue
“If perception has its limitations, this deeply sobering, stimulating film suggests, that may be another way of saying that it is fundamentally limitless. There is so much — too much — to see here, and no end of vantages from which to see it.” – Justin Chang, Los Angeles Times
Sheep Without a Shepherd
Working family man and self-described movie-geek Li (Xiao Yang) is thrown into a battle of wits with the law after his daughter accidentally kills, and his wife hurriedly buries, a fellow student who had sexually molested her. The dead boy’s father is an ambitious politician, and his mother (Joan Chen) is La Wen, a steely eyed, morally corrupt police chief. Utilizing his encyclopedic knowledge of crime cinema, Li concocts a complicated alibi but for La Wen, the crime is personal, and she smells a coverup. An inventive twisty-plotted tale of blackmail, murder and justice and the two families caught up in the deadly game.
NOT RATED. CONTAINS VIOLENCE, BLOODY IMAGES, SEXUAL ASSAULT, LANGUAGE, AND THEMATIC MATERIAL.
Description and score provided by Metacritic.
“Sheep Without A Shepherd is good fun as both an action flick and a heartfelt crime-thriller at the same time. In case you were wondering, the ending is fantastic, which is traditionally problematic for thrillers in general. It wraps everything up nicely and in a satisfying way.” – Alan Ng, Film Threat
“A story like this can’t help seeming far-fetched at times but the emotional stakes are so high and the plot so pacy and intricately woven that most viewers will gladly suspend disbelief and enjoy a ride packed with hair-raising close calls and narrow escapes.” – Richard Kuipers, Variety
“When Sheep Without A Shepherd goes big, it goes really big, both in terms of melodrama and directorial flair. Chen is delightfully wicked as the morally compromised chief of a corrupt and abusive police department, however, and the plot is engrossing enough to forgive the movie’s excesses.” – Katie Rife, AV Club
France
France de Meurs (Léa Seydoux) is a seemingly unflappable superstar TV journalist whose career, homelife, and psychological stability are shaken after she carelessly drives into a young delivery man on a busy Paris street. This accident triggers a series of self-reckonings, as well as a strange romance that proves impossible to shake.
Description and score provided by Metacritic.
“Though France holds water as a black comedy and faintly realistic character study, hitting plausible yet predictable satirical targets, what makes it a good, characteristic Dumont film is its sense of experimentation.” – David Katz, The Film Stage
“In part because of the depth of Seydoux’s performance, the film becomes less an allegory of a nation and more a gripping character study, a portrait of a mask of personal and professional regard slowly slipping away.” – Mark Olsen, Los Angeles Times
“Even when it’s outlining its own ideas more through rhetoric than character, France keeps us on our toes regarding what’s around the corner. Seydoux’s the chief but hardly the only reason to find out.” – Michael Phillips, Chicago Tribune
Midnight
Fear grips the country of South Korea as a serial killer, (Squid Game star, Wi Ha-Jun), stalks its residents. Kyung-mi, a deaf woman, is out late with her mother when she stumbles upon a young woman bleeding out in a dark alley. Now a witness to the killer’s brutal crime, Kyung-mi is being ruthlessly hunted down. Will she survive or become his victim?
NOT RATED. CONTAINS STRONG LANGUAGE AND BLOODY IMAGES.
Description provided by YouTube.
“Midnight enthralls in its thills, excels in its execution, and allows a talented cast to bring this repeatedly anxiety-inducing stunner to life. A real hidden gem, seek this one out!” – Kristy Strouse, Wonderfully Weird and Horrifying
“Zigs every time you expect it to zag, Midnight is a pulse-pounding thriller that boasts three exceptional lead performances. Don’t miss this one.” – Trace Thurman, Horror Queers Podcast
“Kwon Oh-seung’s debut feature enters the pantheon of breathless thrillers, delivering a propulsive, unpredictable film that’s lighter than most of its ilk but no less intense or well crafted.” – Meagan Navarro, Bloody Disgusting