Terrorbit

Remake of a '90s slasher classic that attempts to modernise a popular 90s horror franchise with a contemporary aesthetic, nods to true crime and themes of social inequality and gentrification. While the intentions are commendable, the film ultimately justifies its existence as more than just nostalgic entertainment for slasher fans. With a visual style that combines an atmospheric tone with the gory elements characteristic of contemporary horror, this new entry sticks closely to the plot of the 1997 film, offering a scattered narrative that never fully explores its social subplots, which should set this film apart from Jim Gillespie's version. The cast features both new and familiar faces, including the nostalgic return of Jennifer Love Hewitt and Freddie Prinze Jr. However, the roles offered by the production do not fully showcase the actors' talents, as they tend to fall into clichéd categories - with the exception of Sarah Pidgeon, who nevertheless manages to bring some interesting dramatic nuance -. Ultimately, this remake joins a long list of sequels that fall somewhere between homage and repetition, choosing to look back rather than take creative risks. Paradoxically, the film's most overt remark is also its most telling: "Nostalgia is overrated."

Flying Lotus' second feature film is a visually bold but narratively uneven project that, while offering moments of genuine atmosphere, falls far short of being a satisfying experience for the demanding viewer. The film presents a classic space horror premise: an astronaut, competently portrayed by Eiza González, wakes up disoriented on a remote planet after the massacre of her crew, with no memory and facing an unknown threat. Ash is visually impressive: neon lights, psychedelic atmospheres and subjective shots reminiscent of video games and the experimental cinema of the seventies. Beneath this hypnotic surface, however, the script quickly loses its momentum. What begins as an intriguing mystery turns into a predictable story, riddled with clichés and excessively fragmented, with the repeated flashbacks and dream-like visions adding unnecessary confusion rather than depth. Aaron Paul is relegated to a flat, functional character who generates no real conflict or tension. Seemly designed to make a visual impact, this feature lacks the narrative solidity and character development to stand out, more like an exercise in style that, while visually appealing, ultimately leaves the impression of lacking a story that truly engages the viewer, in a genre already overflowing with similar offerings.

A mediocre suspense thriller that starts from an appealing premise: a petty criminal gets trapped in the SUV he's trying to steal and is subjected to a sadistic game by the vehicle's owner. It's one of those ideas that can be summed up in a single sentence and promises intense suspense, but unfortunately it never lives up to its own potential. The movie drags on longer than necessary and never achieves the depth or emotional impact it seemed to promise at the beginning. David Yarovesky directs competently and offers some interesting camera work, but the script quickly lapses into repetition and fails to sustain the tension. The psychological torture sequences are repeated over and over again without introducing variations or any real development of the conflict. The attempt to add a social and moral subtext with references to inequality and allusions to Dostoyevsky feel forced and superficial. Ultimately, it's a fast-food thriller, briefly effective but easily forgettable.