Tag: Thriller

The House That Dripped Blood (1971, dir. Peter Duffell)

A detective investigates a missing film star, leading him to enquire into a house’s tragic history. Brisk Amicus anthology horror based on Robert Bloch short stories (with one standout yarn) – four twisty tales plus a wraparound story – delivering value for money and some genre-friendly faces.

Here’s the trailer.

The Outfit (2022, dir. Graham Moore)

An unassuming tailor finds himself caught in a war between rival mobsters. Deliberately stagey crime drama seemingly based on the pun in the title, with the kinds of twists one might expect: anchored by an immaculate Mark Rylance performance. Not especially filmic, but enjoyable on its own terms.

Here’s the trailer.

Sideshow (2020, dir. Adam Oldroyd)

A misanthropic stage psychic is the victim of a home invasion. Grubby little comedy-thriller with a focus on making Les Dennis as authentically unlikable as possible. Some good lines sneak through, there’s an okay end-of-the-pier vibe to it, and a genuinely WTF ending that makes this a passable one-time watch.

Here’s the trailer.

Goodnight Mommy (2022, dir. Matt Sobel)

Twin boys begin to suspect that their mother is not who she claims to be. Muted and perhaps over-respectful English-language remake of the 2014 Austrian original. The performances are uniformly good, mind, even if the reveals aren’t strong: Naomi Watts delivers another variant on her mum (or not…) under pressure specialism.

Here’s the trailer.

The Postcard Killings (2020, dir. Danis Tanović)

A detective crosses Europe on the trail of serial killers responsible for his daughter’s death. Tickbox post-Lecter thriller (from a James Patterson novel) held together by Jeffrey Dean Morgan and – initially – some strong moments. It collapses, though, under the weight of ho-hum twists and a throwaway ending.

Here’s the trailer.

Poker Face (2022, dir. Russell Crowe)

A high-stakes poker game among old friends gets out of hand. It’s messy (takes an age to get going) and both sweaty but not quite sleazy enough. At 80 minutes plus credits, it’s only just a movie too. There’s a solid half hour in the middle though: Benedict Hardie is especially fun.

Here’s the trailer.

Lost Bullet 2 [AKA Balle Perdue 2] (2022, dir. Guillaume Pierret)

A year after Lost Bullet, Lino has a chance to get justice for the deaths of his mentor and brother. Amped-up sequel delivering as before in close combat, chases, reversals, and vehicular mayhem. A slightly lighter touch this time: sterling genre (SF and western touches in the mix) entertainment all the same.

Here’s the trailer.

See How They Run (2022, dir. Tom George)

A murder occurs during a performance of The Mousetrap: an investigation begins. Ever-so-slightly pleased with itself mashup of allsorts – The Real Inspector Hound, Noises Off, Agatha Christie, even a Brian de Palma moment or two – that’s nevertheless brisk, funny, well-played, and looks great.

Here’s the trailer.

Holocaust 2000 [AKA Rain Of Fire / The Chosen] (1977, dir. Alberto De Martino)

An industrialist leading a nuclear power initiative believes that there are satanic forces supporting his plan. Gleeful The Omen ripoff, complete with a rich cast of second-string familiar faces, Kirk Douglas naked, fun though variable effects work, a Morricone score, and no shame at all.

Here’s the trailer.

Accident Man: Hitman’s Holiday [AKA Accident Man 2] (2022, dir. George Kirby & Harry Kirby [AKA The Kirby Brothers])

Assassin Fallon is lying low in Malta, but trouble follows from London. A superior sequel, its simple story a set-up for an escalating series of well-shot and choreographed fight sequences balanced with slapstick violence. Deliberately cartoony, foregrounding a keen stunt team and solid location work throughout. Recommended.

Here’s the trailer.