Baby Driver (2017) / We've Forgotten More Than We Ever Knew (2017) / Variant (2020) / Displacement (2016) / The Host (2006) / The Wailing (2016) / Down A Dark Hall (2018)
We've Forgotten More Than We Ever Knew (2017) Thoughtfully designed and executed, a man and woman in a lonely forest stumble across an empty tower which reawakens past memories - and find they're not alone. The performances are effective and the atmosphere edgy, though nothing makes sense.
Variant (2020) Production values falter at times and individual scenes lack energy, yet the narrative and performers are engaging. An aspiring artist finds her life upturned by a stranger and while the sci-fi reveal and resolution are not surprising there's a satisfying sense of fun.
Displacement (2016) A woman flips through various time loops trying to prevent catastrophe and murder. A polished production that mistakes inpenetrable complexity for involving thrills, Courtney Hope's physics student seeks to alleviate guilt, but the emotion is lacking and tension subdued.
The Host (2006) A dizzying tonal blend of physical comedy, family melodrama and social satire wrapped up within the popcorn thrills of a monster movie. After the creature emerges from the Han River, a family searches for the youngest daughter. A dark fun ride, smartly shot and paced.
The Wailing (2016) Gruesome murders in a remote Korean village provoke fear and suspicion, then paranoia and purest evil. Initial humor soon turns to oppressive tension that never lets up through 135 minutes and features striking set pieces. Made with intelligence and thrills.
Down A Dark Hall (2018) Rebellious AnnaSophia Robb is sent to an imposing, gothic school with four similarly troubled teens and faces mysterious Uma Thurman and the ghosts in the shadows. Visually efficient, suitably eerie, thrills are subdued and never quite deliver on potential.
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