The filmmaking duo behind Haunt (2019), Scott Beck and Bryan Woods, pivot from horror to sci-fi/fantasy in their latest flick, 65. The film brings a futuristic edge and a time travel plot to the prehistoric period, pitting Adam Driver against dinosaurs in a lightly tense family-focused race-against-the clock thriller. It’s nothing new or particularly exciting, but it’s enjoyable enough dumb-fun.
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Infinity Pool is the third feature from Canadian filmmaker Brandon Cronenberg, and it takes audiences on another horrific and twisted sci-fi/horror trip. This go around, it’s a sunny, all-inclusive resort set in some surreal alternate reality, and it plays like a sadistic White Lotus for kinky weirdos. The film finds Cronenberg expanding in scope and solidifying his own singular style.
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Following his debut 10 Cloverfield Lane, director Dan Trachtenberg returns with another fresh take on franchise IP. With Prey, he sets his sights on the Predator franchise, and he proves there’s still neon-green blood to be spilled. With a badass protagonist and some entertaining thrills, the film marks the closest the franchise has ever come to capture the glory of the original.
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The long wait is finally over! Nope, the next exciting vision from Jordan Peele, is finally here, and it’s sure to take audiences for an entertaining and unexpected ride. This go around, Peele creates fear out of open spaces and will certainly have you looking at clouds in a different light. It will be hard to avert your eyes, but look at your own risk; this spectacle may just suck you up and spit you out.
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It’s been eight long years since David Cronenberg’s last film, but he’s finally back with another sick and surgical slice of psychological-tinged body horror. Crimes Of The Future possess thematic overlap with other Cronenberg staples, like Videodrome and eXistenZ, but it’s by no means a regurgitation. If surgery is the new sex, then long live the New Flesh, baby!
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Denis Villeneuve is back with another sci-fi epic! This time around, he grapples with one of the most influential sci-fi novels of all-time: Frank Herbert’s Dune. With incredible scope and scale, Villeneuve beautifully articulates Herbert’s vision, delivering another meticulously crafted and masterfully executed sci-fi blockbuster for adults.
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Westworld co-creator Lisa Joy makes her feature film debut with the wistfully nostalgic genre mishmash, Reminiscence. Blending elements of sci-fi, thriller, mystery, romance, and noir into a soggy pulp, the film plays with a lot of interesting, albeit unoriginal ideas, but doesn’t possess the power to fully captivate. For all its creativity, it will likely remind many viewers of better films, rather than excite them.
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8 years after his debut, Antiviral, writer/director Brandon Cronenberg returns with an electrifying new sci-fi thriller that’s equal parts brutal and chic. With POSSESSOR, Cronenberg cooks up a mind-melting experience that invades the senses in the best possible ways, proving yet again that the apple doesn’t fall far from the tree.
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Sputnik marks the feature film debut of Russian director Egor Abramenko, who’s primarily known for his work in commercials and music videos. The film is an expansion to Abramenko’s 2017 short film The Passenger, and it offers audiences a soviet-era slant to the familiar conventions of Space Horror, which is bolstered by strong lead performances, fun creature design, and atmospheric dread.
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