The Drop (2022)
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It’s just before The Drop hits the 15 minute mark that it finally reveals its title – in all its…
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Everything In Between (2022)
The opening moments of Everything In Between have a certain chaos to them that, rightfully, may put interested audiences on…
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Beyond Fest Review: The Offering (2022)
An effective, though questionably CGI’d movie monster and a welcome sense of atmosphere help The Offering from entirely falling victim…
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Three Thousand Years of Longing (2022)
It makes sense that the marketing hook for Three Thousand Years of Longing would boast that it comes from “the…
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The Forgiven (2021)
Privilege and mischief of the white variety are at the centre of The Forgiven, a satirical, oft compelling drama that…
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The Latin From Manhattan (2022)
Given that director Thomas Mignone explored the world of child abuse in his feature On The Doll with an unflinching…
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The Retreat (2021)
Whilst director Pat Mills (Guidance) and screenwriter Alyson Richards (The Sublet) don’t exactly travel anywhere entirely unexpected with The Retreat,…
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Small Town Wisconsin (2022)
As much as Small Town Wisconsin plays with the cyclical archetypes that tend to plague middle-America – that of long…
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The Innocents (2021)
The horror genre has always embraced the archetype of “the creepy child”. Most of the time you want to yell…
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We’re All Going to the World’s Fair (2021)
From the moment young Casey (Anna Cobb in a captivating debut performance) stares directly into her webcam – which, in…
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