8. HER PRIVATE HELL

I know director Nicolas Winding Refn likes making surreal films, but he has outdone himself this time. To be clear, that isn’t a compliment. Her Private Hell acted as my own (hell, that is) as I felt trapped inside Refn’s vision. What I’m sure was a cohesive idea inside his head makes for a disjointed film that is one part soap opera, one part fever dream. Even giving him the benefit of the doubt that the campy dialogue and performances are intentional, they’re out of place with the film’s tone. It’s a visual treat, but that doesn’t make up for the rest of the mess.

7. SOUR MINNOWS

With Fantasia being one of the biggest genre film festivals in the world, you’re bound to get some unique and absurd indie features. Enter Sour Minnows. Building off a scene that reminded me of Radiohead’s music video for “Just,” Minnows goes for something that’s a mix of a student film and a David Lynch project. Unfortunately, its overly ambiguous nature makes for a confusing film that doesn’t seem very interested in answering the questions it presents. This one didn’t work for me, but I could see it hitting you differently if you had ingested certain substances beforehand.

6. UNHOLY NIGHT

Unholy Night is a holiday horror film that can only be described as “aggressively Italian.” It is heavily centered on the familial dynamics of its cast of characters, and it features many cultural Italian hallmarks. Focusing on an ensemble was the right call because although it feels authentic, it doesn’t feature any particularly noteworthy performances. It also feels like director Michael Gabriele wouldn’t allow the film to be funnier. It has some comedic lines sprinkled throughout, but they’re played too seriously. Some levity, with a tone similar to Krampus, would have improved what is a watchable but ultimately average horror film.

5. NIGHTBORN

Although I respect the way director Hanna Bergholm uses the horror lens to convey the difficulties of the postpartum experience, there’s something about Nightborn that feels too familiar. Carried by Seidi Haarla’s great performance, who does her part to elevate an occasionally stagnant story, Bergholm keeps you guessing as to whether there’s truly something supernatural or if everything is in Saga’s (Haarla) head as she seemingly descends into madness. But the reveal takes too long, leading to a rushed ending that doesn’t land with the impact it desires. It’s probably for the best this one is heading straight to streaming.

4. GOD SKIN

On its surface, God Skin is a fun action flick that borrows heavily from video game culture, feeling inspired by things like Animorphs and Beast Wars. Beneath the surface, it has its challenges. Key among them is the poorly translated subtitles that make the film come across as goofier than intended. This is a real problem as there are some serious subjects tackled. Also, for a film featuring the stunt team behind Ong-Bak, the fight sequences leave much to be desired. They’re not bad, but they just aren’t memorable; this film needed and deserved better than that. Ultimately, although I had fun, I kept contemplating the “what ifs.”

3. TEENAGE SEX AND DEATH AT CAMP MIASMA

Much like with I Saw the TV Glow, I can clearly see what director Jane Schoenbrun is going for with Teenage Sex and Death at Camp Miasma. Although I think they did a better job realizing that concept here, something about it just didn’t connect. As a parody of the slasher genre, it works. As a story of sexual awakening, again, it works. I just don’t feel these elements of the story fully complement each other. That said, Gillian Anderson is great, there’s a nice mix of flesh, fluids, and laughs (despite any scares), and I respect that Schoenbrun never compromises their vision.

2. BUDDY

Buddy probably is best suited for streaming — not because of quality, but because a large portion of the film immerses you in a children’s television program, which likely works better at home. Buddy takes cues from programs like Barney & Friends to give it a nostalgic feel, and while this world is clearly scary for its characters, I wish that was also true for the film’s audience. It’s bloody, sure, but Keegan Michael-Key’s entertaining Buddy isn’t quite frightening enough. As an addition to one of my favorite sub-genres (children’s television gone wrong), it’s a fun ride, but the horror could have been turned up a notch.

1. AFTER SCHOOL

Even though it’s a Dutch film, there's a sense of familiarity with After School (Straf), reminiscent of the school comedies of the early 2000s, and I had a ton of fun with it. It brings the laughs, despite the obvious disconnection with subtitles and comedic timing, but also attempts to tackle subjects like toxic masculinity, single parenting, and of course, bullying. Nothing about the cast is flashy (much like the rest of the film), but everyone brings honesty to their roles, which makes After School feel authentic. Considering comedy films have been lacking as of late, I’d love to see an English remake.