Terry Sherwood

Hello Beautiful finds its voice—finally and powerfully—in its closing moment.

At its core, the film is a possession romance, a story with a familiar structure of enticing evil that transcends the particulars of sexuality or subcultural framing. Full view here demonstrates, perhaps more clearly, that this is obsession, desire, and corruption in a world that some people can relate to as a newcomer in a new life and clubs scene.

Anyone with an interest in horror can appreciate it; its primary audience is unmistakable: women who love the genre, who see themselves reflected in it, and who continue to push it forward.

Visually sumptuous and brilliantly filled with black humour, Influencers doesn’t pretend to be a healthy genre film. It’s cinematic satiric fun on the level of a Punch and Judy show.

The picture is a wonderful example of social horror, fear of strangers who are not what they seem, worth a look for the production values well used, and the committed actors.

Roman Polanski’s J’Accuse, released internationally as An Officer and a Spy, is a brilliant exercise in controlled storytelling, visual discipline, and moral searching.

The film uses voyeurism, knowing exposure turns desire into a visual battleground. To look is to risk punishment; to be seen is to invite destruction.

Nadja succeeds most when embracing its lineage, those visual echoes of Universal and Hammer Studios, with the visual weight borrowed from European art horror, yet falters when maintaining cool distance from material that demands a stronger commitment