There’s a version of Over Your Dead Body  that exists entirely in its first 30 minutes; a nasty, tightly coiled two-hander about a marriage so thoroughly rotted that murder feels less like escalation and more like administrative cleanup. It’s a film that understands, with uncomfortable precision, how resentment calcifies over time, how love curdles into something performative, transactional, and quietly venomous. In those early stretches, Jorma Taccone’s film isn’t just funny

There’s a version of I Swear  that plays like a crowd-pleasing triumph, a handsomely mounted, deeply felt biopic about adversity, empathy, and the slow churn of social understanding. And for long stretches, that’s exactly the film Kirk Jones delivers. But what lingers isn’t just the uplift, it’s the abrasion underneath it. It's the sense that every small victory has been hard-won against a world that doesn’t merely misunderstand John Davidson, but actively resists accommodati

The International Horror and Sci-Fi Film Festival, held in conjunction with the Phoenix Film Festival, will once again deliver a thrilling lineup of bold, unforgettable genre storytelling. This year’s program features a dynamic mix of action, suspense, psychological terror, social satire, and body horror from exciting filmmakers around the world. Among the standout selections this year are:  THE FURIOUS  (Photo courtesy of Lionsgate Premiere Releasing)  Screening: Thursday, A

The International Horror & Sci-Fi Film Festival has announced the Focus Features' TIFF and SXSW hit OBSESSION to kick off its opening night on Friday, April 10th. Already being called “the most disturbing indie film of the year”, OBSESSION arrives with serious buzz, and a warning...be careful who you wish for. The unsettling new feature film from director Curry Barker , stars Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, and Andy Richter. In OBSESSION,

There’s a moment early in Project Hail Mary  where Ryan Gosling’s Ryland Grace, bearded, disoriented, and floating somewhere far beyond the comforting pull of Earth, scrawls a question across a dry-erase board: Who am I?  It’s the kind of on-the-nose thematic gesture that would sink a lesser film, the sort of thing that feels reverse-engineered for a trailer. But Phil Lord and Chris Miller’s long-awaited return to live-action filmmaking doesn’t just get away with it, it build

To revisit the final image of Ready or Not , Samara Weaving, blood-soaked, dazed, and smoking in the wreckage of a burning mansion, is to be reminded of how rare it is for a horror-comedy to land on something that feels instantly iconic. It’s a closing note that doesn’t ask for expansion. It lingers. It resonates. It ends. Ready or Not2: Here I Come  makes the fatal mistake of picking that image back up and asking, “But what if… more?” And more is exactly what this sequel is,