Eleanor the Great is a film about connection, but one whose wires get a little too crossed.

CAMP, like the summer sleepaway activity the film is named after, is a means of connection, both among the characters in the film and between Fast and the viewer. Trauma is not healed in silence, but in moonlight dances, incantations, and laughter shared with friends.

Dolly amps up the guts and gore of yesteryear to make a throwback isolationist horror sure to delight the bloodthirsty.

While The Curse is a little too silly to reach the peak of the Japanese horror of the aughts, there’s still something to love here. By the end of the film, there’s not a sliver of the screen untouched by blood.

With strong, funny performances by genre favorites like Sean Gunn and Jermaine Fowler, APPOFENIACS comes from a place of loving Tarantino, but with a new, fun dimensionality.

Bad Haircut is a John Hughes movie that’s been hacked away at by James Wan, and the result is the sort of haircut people can’t stop asking you about.

With the heart of Cellars translated through the weirdness of Waters, The Cramps: A Period Piece is a cult classic in the making.

Silver Screamers is endearingly heartfelt in its pursuit of making something frightening, a mirror of sorts to life itself.

The Long Walk is no walk in the park. It’s a brutal exercise of putting one foot in front of the other in the pursuit of an unknown finish line.

Sunfish (& Other Stories on Green Lake) is a love letter to a place and a season, and how they affect us all in different, beautiful ways.

Bang Bang is not about the moments in the ring, but the tougher moments that come after. When the spotlight’s off and the blood has dried, what kind of person will you be?

Led by Thompson’s truly magnetic performance, Hedda provides an inspired, updated, and freshly twisted take on the classic play. 

Train Dreams is a miraculous wonder. The kind of movie that forces you to stop and take stock of this planet.

Evans’ Retreat is the sort of identity-driven genre filmmaking that people have been begging for.

Ghost School isn’t entirely about comprehending the depths of the corruption in her town. At the very least, it’s about recognizing how she can rebel in her own way.

Dust Bunny is meant to entertain as much as it’s meant to frighten. Where snappy dialogue provides as much of a thrill as every creak of the floorboards.

Renoir creates nostalgia for the moments Fuki is living through in a way that asks the audience to remember their own thorny adolescence as it is unperceptively shifting toward adulthood.

Levack is still one of the Canadian filmmakers to watch and Mile End Kicks will stir up a lot of positive nostalgia for many viewers, but for others it’ll feel more like a cover than an original.

Frankenstein is missing the intimacy of Shelley’s novel which makes the film feel as though it is a mere recreation of life instead of life itself.

Most people grow out of the need to be the center of someone’s world. If not, Obsession warns, it might just be the death of you.