Moving away from the usual somber horror fares, Osgood Perkins’s fifth directorial effort sees the writer-director dipping his toes into the horror-comedy genre with mixed results.
Baksho Bondi is a stark, socially conscious lament for a figure deeply embedded in the fabric of Indian life: the self-effacing mother and wife.
Cleaner is a functional action-thriller that meets the genre's basic requirements without ever truly standing out.
The storyline is a little bit hit or miss here, which prevents Brave New World from being one of the stronger Captain America flicks.
The Gorge may not be a revolution in this genre blend, but it stands out for its stylish execution, imaginative creature design, and the engaging chemistry between its leads.
Bridget Jones: Mad About the Boy works well as a strong ending to the franchise, a poignant exploration of grief and a funny, charming way to spend two hours.
Set against the tumultuous backdrop of Mahsa Amini’s controversial death, Mohammad Rasoulof subtly reflects the real-life case with the harrowing story of a family imploding
inside out.
Inspired by true events, Magnum von Horn’s deliberate slow-burn blends the somber horrors of a woman’s impoverishment and the baby-killing case during post-World War I Denmark.
The Mehta Boys is one of those films that prioritizes emotional truth over narrative novelty. In doing so, it crafts a quietly affecting viewing experience.
It's refreshing when an Indian film dares to challenge conventional folklore in cinema and breathe new life into familiar narrative tropes.