Film Review: The Last House (2026)

 

There's an abundance of tropes in The Last House, and most of the time, the film doesn't seem like it has any problem with that. Instead, it is content to try its best to create what I believe is a new, hopefully sci-fi horror franchise like A Quiet Place, but with a water/sea theme in this case. In that sense, the role of The Last House is to establish the lore - one day, after a storm came, everyone was locked into their house, with no way of escape. One family is determined not just to keep their sanity through that, but to even thrive under these absurdly difficult conditions that are only deteriorating. 

However, that approach does involve a small twist there, which is the passage of time through the story. For some reason, the very first trailer immediately signals this, killing the surprise. Those who enter the film without this prior knowledge will likely have a somewhat more interesting time, even though I suspect it won't be a massive change when it comes to the overall experience. Like the tropes it uses, the plot progression of these kinds of films is not very divergent.  

Thanks to a good cast and well-written dialogue, which never stray into banal or ridiculous territory, The Last House is a modestly entertaining but very predictable film. I'm not sure if the success it generates allows for a full franchise. Yet, it will likely have a long shelf life for streaming viewers who want something not overly clever, but watchable.  

Film Review: Project Hail Mary (2026)

 

Light and optimistic is probably the best way to describe Project Hail Mary, but these adjectives are not the only things that describe this excellent science fiction film. Below the endless optimistic atmosphere lies a more complex story of perseverance and determination through collectivism, rather than individualism, regardless of the circumstances. The story of the film supports this approach through its character-centric take on the famous book by Andy Weir. 

In this case, Weir created a world where no one is stuck on Mars, but humanity is stuck with a dying Sun. The only shot to reverse this planetary calamity is Ryland Grade, played by Ryan Gosling, a middle school teacher who figures out that the solution might be in a distant star system. There, however, challenges await, but so does one unexpected extraterrestrial friendship.

Phil Lord and Christopher Miller directed the film and somehow managed to blend their comedy background with this hard sci-fi story. But they also didn't turn it into a parody and instead blended both the drama and the humor into a truly unique output. I'm certain that Project Hail Mary became a hit due to its action and jokes, but I'm also sure that it will age really well because it, in the end, tells a tale about a journey and those who ended up alone in the endless dark, only to find each other. In a world where we’re getting more somber and dystopian stories like the one in Leave the World Behind, having a story about Rocky and Ryland is hugely refreshing. 

Film Review: Mickey 17 (2025)

 

When Parasite came out in 2019, I wasn't as impressed as I was with  Memories of Murder, a film that blew me away nearly two decades ago. But it did show that the voice of Bong Joon Ho is an evolving artistic presence and, strangely enough, that his time in the global limelight is only starting out in earnest.

When great directors suddenly get massive budgets, the same money is often tied to a gentle chokehold of producers and studio executives. For Bong Joon Ho and his sci-fi satirical comedy, that chokehold was not an option. Instead of making something dumbed down, he made probably one of the better films of this type in many years. On some levels, this film, showcasing the life of a constantly dying and reprinted indentured worker, Mickey on a colonising mission, rivals Terry Gilliam's Brazil. It also shares many of the key points that it explores, but here, the exposition is about mass media spectacle as it is about inalienable human rights.

It's wonderful to see that Bong Joon Ho commanded such a massive budget and a cast including Robert Pattinson, Toni Collette, and a fantastic Mark Ruffalo, but still remained so very much his own man. Mickey 17 is resonant, touching, bizarre, grotesque, and funny, all at the same time. There's a massive lesson there for the likes of Denis Villeneuve and Christopher Nolan. In other words, your talent and vision are important, but only if you are able to stick with them even when the stakes are very high. If not, you get to direct the new James Bond film or make the 100th version of Homer's Odysseus. I’m not seeing Bong Joon Ho move in any of those directions anytime soon.

STAR WARS: Fruut & Hari [feline fan series] - #1 "Order 66" - A Must-Watch for All Star Wars Fans!

The realm of fan-made movies is built through a long and proud tradition reaching back decades. The same creative space even produced a handful of films that were close to rivaling its source material, like it's the case with The Hunt For Gollum from 2009, which turned into a true masterpiece. Now, there's a new contender for the fanflick crown, but the focus is on a different fictional universe. This time around, that universe is Star Wars, but one inhabited by, among others, Jedi... cats! The name of this creation is STAR WARS: Fruut & Hari, and it first episode is simply called "Order 66". You can watch the entire creation right here!

From the first moment, there's so much stuff happening in this fan series that it's nearly overwhelming. But, just as fast, the episode finds its footing that quickly turns the viewing process into an engaging adventure which could lead almost anywhere. As Star Wars fans, we can’t help but feel anything other than being instantly pulled into its wacky but exciting domain.

However, the thing that really impressed me is the fact that the series is so masterfully executed. Sure, the VFXs and visuals are very low-fi, but the script, editing, and acting are anything but amateurish. From the first moment, the series initial episode sets the stage by going for maximum drama, which is faithfully following the overall Star Wars approach. Right after that, both the action and drama kick in, with space battles, crash landings, and speeder chases. The fact that all of that was made by a single creator and his cat is mind-blowing.

If you're a fan of cats, Star Wars, or possibly both, this is a must-watch for sure. The level of artistry, cinematic craft, humor, and overall love for all things Star Wars make Fruut & Hari a potential new instant hit in the fanfic world and for all good reasons. Subscribe to the same YouTube channel and see where these mesmerizing characters take you in subsequent episodes in a galaxy far, far away!

Film Review: The Gorge (2025)

Movies like The Gorge often cannot escape similarities with one or more episodes of The Twilight Zone. In this case, the similarities are noticeable almost immediately when two distinctly different individuals - both of whom are professional snipers - get a job protecting a mysterious gorge on its opposing sides. Inside are incomprehensible horrors, but outside are many oddities and unknowns as well.

From that hook, the film's director Scott Derrickson, who recently made The Black Phone, does a Super-G-level of slalom, flipping through genres in no time at all. From a thriller to a drama, then to a romance, and finally to a horror science fiction, The Gorge covers broader genre setups than an average movie theatre does over a weekend. Here, the film would often be too loose and disconnected, if not for Anya Taylor-Joy. For the most part, she carries the film on her slender back, providing a character that is constantly evolving and growing, but does so without stealing the spotlight. The same makes The Gorge overall a fun experience, even when the premise and the plot struggle to keep the audience engaged and interested in what, ultimately, hides the weird fog of the gorge.

Film Review: Brick (2025)

Back in 2005, Rian Johnson directed what is, in my view, one of the greatest neo-noir films of the 21st century. Twenty years later, Philip Koch also directed a film called Brick, but this one is neither a neo-noir nor a great work of art. Its plot is not about dramatic teens in a fictional drug trade. Instead, it zooms in on a building in Germany that suddenly becomes encased in a strange, brick-like material, trapping all of its inhabitants inside, and it's sort of a derivative M. Night Shyamalan tale.

Overall, it has a modest entertainment potential, which was geared to work with its modest run time (just under 100 minutes). The cast maneuvers within the film's premise the best they can, but they do not end up connecting to each other, nor do they connect to the audience. The central mystery also loses its appeal with each passing minute and tedious lifeboat-like situation.

Through this, the cast do what they can in a prolonged episode that ranks among the weaker Black Mirror stories and is just close to classic Outer Limits ones. The film struggles most at its climax and ending, failing at the same time to be smart and emotionally resonant. At the end, Brick tries hard to lay brick over its shortfalls and thus finishes as a big pile of bricks. It, like the film, is far from useless, but also just as far from appealing. 

Predator: Killer of Killers

Intensity and energy are the main hallmarks of Predator: Killer of Killers. These elements shine through from the first moment and keep up relentlessly throughout the film. That's not an easy feat in any genre, let alone feature-length animated movies. It is also important to note that the director, Dan Trachtenberg, who previously made, among other things, 10 Cloverfield Lane, has diverse experience working on atypical projects. That helped him to keep both going even though the majority of the film's storyline is broken into three separate vignettes. 

Each of these covers a different warrior on Earth, each in its period. That includes a Viking clash, a violent political turmoil in feudal Japan, and finally the Pacific theatre of WW2. In each, a predator seeks to find the strongest prey, take it down, and become the killer of killers. At the same time, the clueless humans hang desperately to nothing more than the raw desire to survive. 

The vignettes come together in the crescendo of the film, erupting in even more action and bloodshed. But, these work together perfectly with rough but still defined characters, each from a different era and culture. Through a well-chosen style of animation, the desperate humans, just like the unwavering predators, managed to offer one of the best films in this franchise. Simply put, Predator: Killer of Killers is truly a killer movie (I had to go there).

Film Review: Alien: Romulus (2024)

 

Well-made horrors usually tend to include some form of elegant simplicity. Recently, works like Oddity excelled in that regard. But, when you're dealing with a massive, world-famous franchise like Alien, it's a lot harder to keep things simple. Luckily for all fans of sci-fi and horror, director Fede Álvarez managed to pull this off with Alien: Romulus.

The simplicity begins with the plot - on a destitute corporate world where the Weyland-Yutani corporation turns workers into slaves, a group of young people wants to escape and find a better life among the stars. The way to do it is to reach a derelict space station and recover the necessary gear for their years-long journey. On the same space station, however, a xenomorph awaits.

The plot is simple, while the elegance of the film comes from the clever obstacles and dangers that the scavenger team tries to overcome, as well as some gorgeous cinematography. The cast is securely led by Cailee Spaeny, who echoes the collected composure of the much more famous Ellen Ripley. At the same time, the film does not suffer from injected nostalgia or oppressive homages, even though it does transplant (pun intended) one of the original characters into the plot.

The presence of that character, like everything else in the film, is ultimately very smooth. From start to finish, Alien: Romulus is probably the most worthy successor to the first film that was made so far, which is why both the cast and crew deserve a lot of praise.

Hi How Are You? (2023) - Meditative Journey into the Heart of Love

Having a feature-length movie recorded on nothing but iPhones and doing so primarily in selfie mode might sound like a strange idea. However, the movie Hi How Are You shows that ultimately, like ever, the substance overcomes the format. In this romantic drama with a strong undercurrent of science fiction, two souls reconnect with each other when a hangover Lou, who is in Paris, decides to call Mani, a rock star from Iran who's in New York. At the same time, a celestial body called MX6292 apparently sets itself on a collision course with the Earth. 

Through conversations ranging from video calls between friends to amateur scientists calling into news channels, the unusual video format works well. The film includes many characters that slowly revolve around Lou and Mani, while at the same time, something much larger is taking place in the endless void above. Interestingly, the film also uses plenty of VFX and superimposed elements in its shots, like billboards and other details in external locations, which all work surprisingly harmoniously with each other.

The film was written and directed by Clemy Clarke, who is a French filmmaker living in Los Angeles. Clarke brought an interesting blend of sensibilities to the film, showing something hard to pinpoint geographically, both literally and metaphorically. However, the film's overall ambiance and sensitivity to a changing, interconnected world, which can still feel so lonely, is incredibly poignant.

Through many languages, covering English, French, and Farsi, Hi How Are You? tells a very natural story of relationships that forever change and evolve, but which still yearn for that essential connection and the love that lies behind it all. Because of that, the element of the mysterious celestial body works so well on focusing the otherwise very loosely threaded story. The film's tragic and powerful culmination, which is fully steeped in music, is, in the end, all about that human connection.

In a very shrewd manner, Clarke bridges so many of these surface ideas of what it is to be alive in this strange and modern world of ours. She then funnels them all towards the core of the film - which is a love story, told from such a strong, universally human, perspective. In the end, the tale of this touching film shows us that it really is all about - love.

Watch Hi How Are You? on Amazon Prime today!

Film Review: Trapped Inn (2024)

From its intro sequence and the first minutes, Trapped Inn shows that it's a different kind of movie. Starring the multitalented Matt Rife, it immediately sets the stage for its main characters - a US cycling team training in Europe. After a grueling session, the team goes back to their lodging inn, an isolated place where things look better than they should, but also come with an underlying sense of menace.

The great thing about the setup of Trapped Inn is that it uses the entire cycling team as its main character, quickly establishing different personalities, relationships, and rivalries. All of that feels very familiar, but it has rarely been presented in films, especially ones like this. The director of the film, Leah Sturgis, uses the setup in a refined manner, being that the risk there would have been for the movie to slide into a regular sports drama early on. However, Trapped Inn builds up its mystery and a sense of growing unease and danger just as effectively.   

Besides Rife and his main team rival Greg, played by Robert Palmer Watkins, Brian Gross as the team's coach manages to perform really well in this kind of odd setup of things not being what they seem. Along with them, the entire team does a great job in molding realistic characters who find themselves in an unexpected, emerging hellscape. As the disappearances and the bodies begin to pile up, the film kicks into a whole new gear with the threat of a mysterious infection and death.

Trapped Inn is shot and edited perfectly, using the best out of natural light and gorgeous locations, both indoors and outdoor. All of the subtle special effects manage to blend into that almost seamlessly. This also offers a great counterpoint to the plot once the danger becomes very immediate and real. That further enhances the tension that the character begins to experience as survival becomes a desperate plight with no good outcomes.

From beginning to end, Trapped Inn is a masterful combo of genres and setups. I'm sure that the presence of big acting names will attract the viewers and the fact that the entire cast performed great, but the actual appeal of the film lies in its ability to blend and sustain its unique approach to its storyline. As the world implodes inside of the characters and outside of them, Trapped Inn offers the audience a world-ending ride that they will never forget.

Learn more about Trapped Inn on its official website and see where you can watch it right now!

Film Review: Archive (2020)

 

If you start watching Archive and get that weird sense that the film reminds you of something, but you’re not quite sure what, don’t be confused. Its strongest suit definitely lies in its most peripheral elements, where the first-time director, Gavin Rothery, has loads of experience. Here, that sense of familiarity really lies. As a film set creator and graphic designer, Rothery worked on titles like Moon from 2009, and this rich experience shines through.

The main topics of Archive are eerily similar to those ideas as well, being that they talk of identity, grief, and the ability of machines and other artificial elements to integrate themselves into the most personal parts of our lives. Here, the main character is George, played well by Theo James, who is a robotics engineer and scientist, building a new humanoid model in a semi-deserter research station. As the plot is set in the near future, George is also keeping his deceased wife on the premises, here in the form of Archive, a mainframe-like device that stores the deceased person's consciousness for an additional 200 hours.

Soon, those final hours start to run out and so does the time that George has for his pretty obvious secret plan. But, movies like this rarely try to fully surprise their viewers and Archive is no different. Aside from the very familiar-looking script and the main twist that comes with no big surprise, the film also somewhat fumbles with its prolonged, drawn-out pacing and several dead ends. That places the film in the realm with titles like Ex Machina, but which simply do everything slightly better than Archive.

It all makes the movie ultimately feel forced and unnecessarily long, while it shines the best in montages of robotic visuals and mechanical sound that show an alien technological landscape. That space lies in the heart of the story but does not manage to compensate for its lacking elements. Thanks to that, Archive would have worked much better as a short film or even some kind of techno music video that leans into the strong sides of Rothery and avoids problems that the feature-length film ended up having.

Arena Wars (2024) - Death Games, Bloody Mayhem, and Fun!

Humanity has always been fascinated with the concept of competitions where the participants risk mortal injuries or even fight to the death. In ancient times, cultures like the Roman Empire had their gladiators, while Aztecs sacrificed prisoners of war in similar game-like events. In the present day, such practices are either non-existent or highly illegal, but the fascination remains, especially when modern technology is thrown into the mix. That is why films like the legendary Running Man became cult classics. Now, a new feature film takes on this concept, but does it in a fresh and unique manner. That film is Arena Wars and it comes out very soon with its hellish version of death games. 

Gravitas Ventures is well known for bringing innovative independent films to a worldwide audience. On June 25th, Arena Wars will bring the battle to the big screen in North America and on VOD in most geographic regions. Be warned, folks, Arena Wars is not for the faint of heart as it places our heroes, who happen to be freedom-seeking convicted criminals, on a live television show "Arena Wars" to engage in mortal combat for your evening entertainment! Think the masked singer meets WWE but with knives, sludge hammers, convicted murderers, and chain-saws.

Our protagonist Luke Bender (John Wells) is a wrongfully convicted Marine serving a life sentence, who leads a group of ragtag convicts through a series of arenas in the ultimate quest of good vs evil, freedom vs certain death. In Arena Wars, convicted criminals can fight their way to freedom against seven of the world's most dangerous masked gladiators. Enter our masked gladiators in full combat armor: Master Blaster, a chain-saw-toting psychopath; Cutie-pie, whose machete is sure to capture your heart; Calypso, who is ready for a fight in some scary WW2 riot gear; Meat Wagon, and many more. 

 

 

 

Arena Wars also stars its TV host, Michael Madsen (Kill Bill, Hateful Eight), and Robert Lasardo as Perez (The Mule, Death Race), Eric Roberts as Admiral Jordan (Runaway Train, The Dark Knight). The very capable Brandon Slagle is at the helm, directing and capturing the action of the Arena Wars mayhem (The Flood, Battle for Saipan). Mark your calendars for June 25th, folks; that's when Arena Wars slashes, punches, and kicks its way to select theaters and VOD! Arena Wars is not to be missed!

The film is a must-watch for all fans of genres like action, gore horror, and thrillers, especially those that involve the tech aspect, seen here in humanity’s insatiable hunger for TV and online video violence. However, Arena Wars doesn’t shy away from dark humor, which is a great counterbalance to the somber note of death games. Here, a great cast, including Roberts, Lasardo, and Madsen, is a perfect fit, as veterans who can effectively dabble in both serious characters and those roles with a comedic twist. Also, as the trailer shows, the movie features a high level of polish, seen in editing and color correction, as well as other elements that make it big scene-worthy for sure.

Arena Wars will hit theaters and video-on-demand services on June 25, 2024. All who find this setup intriguing should pre-order the film on Amazon right now, but every action movie fan out there should be aware - when the 25th comes, be ready for your bloody dose of Arena Wars!

Film Review: Dune: Part Two (2024)

There’s a clear and definite characteristic of both Dune films and it’s not something, at least in my experience, that the reviews tend to notice or mention. That characteristic relates to the issue of characters and their relatability. While both films come with many different individuals who have widely different personalities and goals, all of them have in common the fact that I don’t really care what happens to them.

I don’t want any righteous retribution against Baron Harkonnen, just as I don’t care if Paul Atreids becomes the emperor. I’m not invested in whether or not Chani ends up with Paul or if the Sardukars protect the Emperor or die trying to do that. I also couldn’t care less whatever Stilgar or Gurney Halleck want or aim for.

Instead, like the first Dune film, we’re left with an audio-visual spectacle that dazzles the senses, potentially tickets the mind, but does next to nothing to the way we feel about it. The second film, furthermore, even follows the Hollywood blockbuster formula. As we follow Paul in his newly instated guerilla war against Harkonens, we get the well-known 1-2-3 punch. First step is dialogue, followed by combat, followed by something mysterious and grand, like a spice trip, impressive outwordly location, or a fever dream.

All of these - including dialogues - look great, but feel void. Through this shuffle of elements, the film streams on through its plot and races to its completion. The only moment it breaks its stride is the short excursion to the Harkonne world, where again, we get the same 1-2-3 formula, but this time in black and white.

A clear pattern is emerging from Denis Villenu in his last three films - that includes the two Dune movies, but also the Blade Runner 2049 that came before them. These films feel great visually as you watch them and there is an undeniable aesthetic power to them. But, beyond the nice shots there is a plethora of cardboard cutouts representing characters and that, sadly, undermines the entire experience in a subtle but unmistakable manner.

Two Paragraph Review: Rebel Moon (2023)

If you have a science fiction action film on a grand scale where "rebels" fight the "Imperium", certain issues of copyright and artistic freedom are bound to get raised. However, the director and main creative force behind Rebel Moon, Zack Snyder, clearly wasn't dissuaded by any of those notions or he simply has steel faith in his team of lawyers. Instead of giving the script an un-Star Wars redo, Snyder went full-force into the development of a two-part epic where Kora, a former super-soldier of the Imperium, is taking on her former employees for the sake of a small farming moon and its despondent inhabitants.

The biggest immediate impression that comes from watching Rebel Moon is its completely uncensored ripoffs from the Star Wars franchise. From costumes to the broader topics and relationships, all the way to the core nature of this very familiar-feeling story set in a galaxy far, far away, it was all seen before. More precisely, it was all seen in the famous George Lucas franchise. But, Snyder does all of this thievery so unapologetically and without restraint that you cannot somewhat enjoy the end-result knockoff adventure. Add a dash of predictable and unnecessary slow-mo fight sequences and the classic Snyder dish is served. However, despite all of its failings when it comes to originality and uniqueness, it is still a somewhat fun cinematographic experience which is at moment - ironically - more entertaining than a few of the new Star Wars films.

Two Paragraph Review: Leave the World Behind

Watching Leave the World Behind is somewhat of a surreal experience, where the ultimate sense is that the film is either a great work of art, or something that is just creepingly coming to a very disappointing end. However, the film ultimately managed to find its final bearing in not so much emotional space, as much as a rational idea. It states that making huge and dangerous systems might not be that smart for their users, but for their creators either. Truth be told, this isn’t a groundbreaking concept, but still one worth reminding ourselves of.

On moments, the star-studded cast and that sense of hesitancy when talking about truly divisive US political issues makes the film seem like Don’t Look Up. However, unlike the stupendously flawed ending of Adam McKay’s brainchild, Leave the World Behind elegantly ties all of its sub-plots of two families stuck in what is more or less the end of everyday reality as they know it. It is fitting that Mahershala Ali, the best actor of the entire cast, has the pleasure and the privilege of driving the film home at its end, without being sappy or overly dramatic. Instead he simply delivers the finish in several lines, closing the storyline at the same time as the old lives close on the characters. With that, they and the film are at an end. After all, that’s how worlds end, don’t they?

MiP: The Journey Across the Universe - Unique Upcoming Cinematographic Experience

Independent films, especially short ones, often try to focus on everyday topics. However, other projects do the exact opposite and try to soar as high and as far as possible. MiP: The Journey Across the Universe is one such cinematographic undertaking and it promises a truly unique experience. Written and directed by Jason Wexler, the same short film was made in Blender and Element3D, while it uses the music of the legendary band Pink Floyd. Through the same tunes and sounds, it creates an intense psychedelic space-rock experience. Check out its trailer right here:

In the film, the main storyline revolves around MiP, a small alien robot that has the job of assisting evolution, including life on planet Earth. The film is a prequel to the movie VGHW, which came out in 2022, and which details the arrival of the same robot to our planet. You can watch the entire VGHW film here as well:

MiP: The Journey Across The Universe sets out to explore the nature and origin of MiP, but do it in an immersive and thought-provoking manner, especially thanks to the soundtrack of Pink Floyd. Clearly, Jason Wexler built a unique and touching experience and there is no doubt in my mind that all fans of exotic inner and outer spaces will enjoy the film immensely when it comes out on December 30th, 2023.

Two Paragraph Review: Last Sentinel (2023)

 

Great thing about sci-fi is the fact that you can do a lot with little. Coherence is a perfect example, which remains a fantastic movie years after its original release. However, there are still many other movies that simply fail to do much with its premise, leaving the viewers in the low-budget, low-expectation zone. They are straight to video material that is forgotten as soon as it is seen.

Last Sentinel is an odd film that kind of falls between these two categories. It is a story of a military outpost in an endless sea that has become planet Earth in the 2060s. Global war ensues among the two surviving landmasses even though the winner will turn into water sooner or later. In that gloomy setting, a cast of four manages to pull off an interesting thriller which is similar to a lifeboat scenario, but still has a big narrative element up its sleeve. Yet, at the same time, it never manages to pack a full punch to use its solid cast at any memorable level. Instead, the Last Sentinel is not as bad as it could first seem, but neither is it as good as it might have been with a few more risks in its original script

Two Paragraph Review: Dune (2021)

Dune is good. It's so good in fact that it would be a viable short film without any plot, dialogue, or any other verbal information. Bare scenes and the accompanying music would do it justice. As a whole package, Dune is probably the best science fiction film in the last 10 years, at least on this grand scale. Sure, its director Denis Villeneuve himself made a better cerebral sci-fi film, which is Arrival. However, when it comes to these immense films, Dune did nothing that no other movie manage to do since the time of The Lord of the Rings. It's an instant pop-phenomena, and its quality makes it that.

Of course, it's not a flawless film. In its essence, the plot is forgettable and rehashed many times over, while the details are the stuff that sticks. Yet, battle costumes are not that, especially for Sardukar forces. Also, similar to Blade Runner 2049, it is sometimes (less often than the cyberpunk film) trying too hard to be serious and ends up just kind of dull. That's especially present in the last 30 minutes of the film and the anticlimactic ending it pulls off. However, even with those flaws, Dune is a thing that you have to behold and held there tightly.

Film Review: Come True (2020)

Once in a while, a relatively small horror-like movie comes along and shakes up the international indie scene to its core. A few years back, It Follows did that. Insidious managed to do the same more than a decade ago. Now, I'm certain that Come True is doing the same once again.The film, written and directed by Anthony Scott Burns, starts off in a strong and subtle manner. It showcases the life of Sarah, a teenager that is in the process of fully running away from home. 

Two-Paragraph Review: The Block Island Sound (2020)

A lot of divisiveness about different ways of reviewing The Block Island Sound will likely boil down to the way a person chooses to interpret its ending. However, for me, the movie already misses the mark sometime before that moment. As a story, it opens in an interesting manner - a small island and a fishing family (or the family of a fisherman) slowly becomes consumed by a strange sound they begin to hear. This blends perfectly with their already numerous personal issues and emotional problems, showing again that living on a small, wind-swept island in the Atlantic might not be the best place for mental well-being.

However, beyond solid acting and good cinematography, the moving quickly loses focus in terms of what is trying to accomplish. Through the perspective of one family member, Harry, we kind of see a descent to madness, irritation with life going nowhere, sleepwalking from hell, and a mystery to be solved. Yet, we get nothing of that, as the movie becomes bogged down in itself nearly halfway in. From there on, the viewers basically wait for someone (or someone else) to die already and give The Block Island Sound some semblance of closure. Expectedly, it fails to deliver that as well. So, the entire experience ends up with an interesting premise in a cool setting for psychological horror, but which doesn't evolve into that cool horror psychological film at all. Instead, it lingers and it then ends in a lingering way.