A dysfunctional couple and their daughter move into an old house in 1980s upstate New York: matters go awry. Patchy, overlong and over-stuffed horror/drama that struggles to fillet its source novel (All Things Cease to Appear by Elizabeth Brundage) to suit a movie. A couple of good moments, though, and F Murray Abraham and Karen Allen are always welcome.
A wealthy family stay in a remote Welsh vacation rental; the house has secrets. Slight, austere, though generally effective psychological thriller, adapted from the Daniel Kehlmann novel. No real surprises, but the movie’s well-played and directed, and succeeds within the strictures of the Twilight Zone-ish story.
In 1979, a student has romantic adventures in the Med; this links with the present. Both sequel and prequel to Mamma Mia!, this ABBA-based jukebox musical is part-reprise, part deconstruction. More fun than the first, and as impermeable to criticism as its predecessor. You’ll either love it, or be baffled.
In the near future, a detective investigates a woman without a data presence. Minimalist thriller typical of its director’s concerns with surveillance. Well-designed, and with plenty of good stuff along the way, but maybe a touch too austere, falling between arthouse and genre piece.