Aftersun (2022)

Aftersun eloquently encapsulates the best and worst moments of parenting while also exploring the awkwardness of that time just before high school. Poignant yet hopeful as heavy themes are examined without effort. This is easily one of the best films of the year and it couldn't come at a better time.

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Brooklyn Horror Film Fest (2022)

Like with Fantastic Fest, I’ve never attended Brooklyn Horror, and with FF wrapping up and Halloween right around the corner, of course, I’d take a stab at watching a few horror films that hadn’t been released yet. While I wish I had gotten to more, I very much enjoyed viewing and covering the films that I had time to watch. There are a bunch of gems here, so I’d say that horror is in good hands for the years moving forward.

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The Killing Time (1987) #RetroReview

The thirty-fifth anniversary of a film you may not have heard of is October 23rd. Rick King’s The Killing Time from 1987 is hindered by some shaky scripting and its insistence on presenting Beau Bridges sex scenes, but its solid premise and Noir-ish atmosphere make it entirely watchable. I’d never heard of the film before Scorpion Releasing announced they were putting out a blu ray back in 2020.

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Masking Threshold (2021)

Right off the bat, I’m going to tell you that Austrian filmmaker Johannes Grenzfurthner’s Masking Threshold is not going to be for everyone. Its uncompromising presentation and shocking imagery make for a challenging watch. I personally loved its wholly unique vision.

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Fantastic Fest (2022)

I’ve never attended Fantastic Fest and looking back, it was one of the many reasons I even made this website. Well, maybe not exactly, but I do want to see all the unreleased stuff before everyone else. So when I had the opportunity to cover the prestigious Austin movie festival, I did.

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Dark Glasses (2022)

Dario Argento has returned with his first directorial effort in ten years! Of course, there are many fans who will just shrug at the release of Dark Glasses, as the legendary Italian auteur hasn’t produced any must-see work for decades. What we have here is a simple return to form, with Argento stretching his legs in familiar territory, and while not everything lands, I was never less than engaged and entertained.

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