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Boston Strangler (2023)
Even when we aren’t witnessing the Boston Strangler’s brutal murders in Matt Ruskin’s true crime procedural, we feel a palpable paranoia spreading across 1960s Massachusetts, posing a cutting criticism of those misogynistic institutions seeking to protect one half of society while the other lives in perpetual fear.
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The Killer (2023)
With such an emotionally distant sociopath at the centre of The Killer, it is no wonder why David Fincher was so drawn to its methodical screenplay and intensive study of perfectionism, meticulously following the procedures of a vengeful hitman through a treacherous, gloomy underworld that very gradually unravels his icy composure.
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The Haunting (1963)
The only place willing to embrace those who have endured life’s deepest psychological pains in The Haunting is the cursed estate of Hill House, consuming its vulnerable visitors in Robert Wise’s expressionistic set pieces and writing out their chilling destinies in ghostly prophecies.
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Ordet (1955)
Ordet’s parable of dwindling spirituality is stark in its dogmatic minimalism, enveloping Christians and non-believers alike in rural landscapes of harrowing scarcity, and yet still there is hope in Carl Theodor Dreyer’s deliberations on divine miracles that espouse the indivisibility of life, faith, and the profound resurrection of both.
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Killers of the Flower Moon (2023)
Just as Martin Scorsese seems to have had his final say on the crime genre, a spate of violent assassinations targeting the Osage people for their newfound wealth emerges in Killers of the Flower Moon, sprawling this colonial exploitation and genocide out across an epic narrative that elegiacally mourns one of America’s great historical injustices.
