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Originally published on Elements of Madness.   Meghann Fahy as Violet in Drop, directed by Christopher Landon. Photo Credit: Bernard Walsh/Universal Pictures. © 2025 Universal Studios. All Rights Reserved. First-date jitters take on a whole new meaning in Drop, a Blumhouse thriller from Happy Death Day director Christopher Landon. Drop stars Emmy-nominated Meghann Fahy (The White Lotus) as Violet, a single mom looking to re-enter the dating scene, alongside Brandon Sklenar (It Ends with Us) as Henry, a picture-perfect photographer. After meeting on a dating app and texting for several months, Violet and Henry finally agree to meet up for dinner at a swanky restaurant on the top floor of a Chicago high rise, the perfect setting for a romantic rendezvous. However, the romance soon dissolves into horror when Violet starts receiving memes from an anonymous sender via digiDrop, a file-sharing technology similar to Apple AirDrop. While the first few photos seem harmless, the anonymous sender quickly takes on a threatening tone, effectively ruining Violet’s date — to say the least.
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Could You Make the Choice? M. Night Shyamalan Puts Certainty on Trial in KNOCK AT THE CABIN2/2/2023   (From left) Sabrina (Nikki Amuka-Bird), Adriane (Abby Quinn), Redmond (Rupert Grint) and Leonard (Dave Bautista) in KNOCK AT THE CABIN, directed by M. Night Shyamalan. If your expectations for Knock at the Cabin are based solely on M. Night Shyamalan’s previous film, Old (2021), those expectations probably aren’t high. Despite its fascinating concept, Old is stiff and awkward with unbalanced performances and an unrefined script. You might be tempted to make the same judgment about Knock at the Cabin after watching the first five minutes. The movie opens with stiff, over-rehearsed dialogue and awkward closeups that create an uneven tone and set a low bar for the rest of the movie. With vintage horror aesthetics in the opening credits and a creepy yet playful score, it’s difficult to tell whether or not Knock at the Cabin is taking itself seriously. But gradually, and then all at once, the tone becomes deadly serious. As the plot develops, it’s clear that Knock at the Cabin doesn’t suffer from the same problems as Old. M. Night Shyamalan’s latest film is a vicious, relentless mind game propelled by surprising and intense performances. With a script that gets exponentially better along the way, Knock at the Cabin far exceeds expectations.
Originally published on Elements of Madness.  L-R: Lola Berthet as Irina and Jimena Anganuzzi as Carla in THE ATTACHMENT DIARIES. Content/trigger warning: The Attachment Diaries deals with sexual assault, self-harm, mental illness, and abortion. These subjects are also briefly discussed in the review below. The Attachment Diaries is a difficult movie for two reasons. First, it focuses on a handful of difficult topics (including abortion, which has just become more relevant than ever in the United States), and it presents those topics in a blunt and, at times, irreverent way. Second, it’s difficult because it asks us to think about imperfect people in imperfect situations. The film appeals to very raw and carnal emotions, asking viewers to indulge in the thoughts and feelings that we aren’t supposed to think and feel. It’s a good thing that The Attachment Diaries is so masterfully shot, because it may take several viewings to make sense of it.
  NOPE. Written, produced and directed by Jordan Peele. If the first trailer for Jordan Peele’s Nope piqued your curiosity with its foreboding tone and vague details, then you were probably bummed out by the final trailer, which seemed to give everything away. You’ll be pleased to know that despite its revealing final trailer, Nope still has a handful of surprises to offer. While it's not quite as intense or chilling as Peele’s first two feature films, Get Out (2017) and Us (2019), Nope is a well-developed, well-rounded, and well-crafted flick that is sure to delight crowds at the theater. It’s filled with all the thrills and chills of a summer box-office hit, bringing together the best of comedy, sci-fi, and horror. And, of course, every shot is accented by Peele’s penchant for the disturbing. As the talented writer and director proved with his first two films, Peele has more than a few tricks up his sleeves when it comes to plot twists, uncanny visuals, and bizarre narratives. Peele has not only joined the ranks of 21st century auteurs - he’s also leading the charge.
 Things are looking grim in Gotham City. As per usual, there's plenty of crookedness afoot — and the city’s elected officials can’t be trusted to stop the criminals of Gotham. On Halloween night, just days before the mayoral election, one of the most important men in the city is brutally murdered in his home. Commissioner Gordon (Jeffrey Wright) is on the case right away, and he brings a certain Caped Crusader (Robert Pattinson) along to help. Batman’s quick thinking comes in handy when investigators discover a riddle left behind by the murderer. Unfortunately, the answer to that riddle doesn’t give Gotham City police much information. It won’t be long before the sneaky Riddler (Paul Dano) strikes again, and Batman must act fast to stop him.
 A scene from 20th Century Studios' NO EXIT, exclusively on Hulu. Photo courtesy of 20th Century Studios. © 2022 20th Century Studios. All Rights Reserved. If you want to avoid a horror-movie situation, it’s probably best to stay away from isolated cabins in the dead of winter. Stephen King was certainly onto something when he set The Shining and Misery in snowed-in Colorado abodes. The strange, frigid silence of a snowstorm is the perfect backdrop for stories about isolation and hopelessness. That’s why director Damien Power was so drawn to No Exit, a novel by Taylor Adams, which also takes place during a blizzard in Colorado. In Power’s film adaptation of the book, which premieres February 25, 2022, on Hulu, Power makes the most of the snowy, isolated setting. He creates the ideal setup for the heroine, Darby (Havana Rose Liu), to undergo intense physical and psychological distress.
Originally published on Elements of Madness.  Çecilia Milocco as Molly in KNOCKING. If you’ve spent any time living in an apartment building or a dorm, you’ve probably had a few run-ins with noisy neighbors. It takes guts to knock on a stranger’s door and ask them to keep it down. Depending on what kind of noise you hear, you might even opt to skip the awkward conversation and call the police. But what happens when nobody else can hear what you’re hearing? What do you do when someone is calling out to you for help and the police don’t believe you? Who can you turn to when your neighbors think you’re having a psychotic break? In Frida Kempff’s psychological thriller, Knocking, a woman named Molly (Cecilia Milocco) becomes suspicious of the men in her apartment building when she hears persistent knocking and crying coming from the floor above her at night. No one else can hear it, and no one is interested in helping her solve the mystery. But Molly knows what she heard, and she’ll stop at nothing to help the unknown woman on the other side of her ceiling.
Originally published on Elements of Madness.  L-R: Mark O’Brien as Aaron and Henry Czerny as Frederic in THE RIGHTEOUS. If you’re into Southern Gothic literature, you’ll go nuts over Mark O’Brien’s feature directorial debut, The Righteous, which screened at the Fantasia International Film Festival earlier this month. Granted, it was filmed in Canada and not the American South, but it sure does capture the dread, madness, religious anxiety, supernatural freakishness, and overall darkness of the genre. The Righteous tells the tale of ex-priest Frederic (Henry Czerny) and his wife, Ethel (Mimi Kuzyk), who are trying to make sense of their lives after they lose their only daughter. The couple’s mourning process comes to a halt one night when a stranger, Aaron (Mark O’Brien), shows up outside their home with a sprained ankle. Aside from his irreverent vocabulary and general secretiveness, Aaron is a harmless, mild-mannered kid. However, his presence casts a haunting shadow over Frederic and Ethel’s household, a shadow that will change their lives forever.
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