Clear your schedule and go see Luca Guadagnino’s Suspiria (2018). Get plenty of sleep the night before. It’s not the phone-it-in sort of movie.
David Gordon Green’s Halloween (2018) may be a soft reboot/sequel of the sort that seems to be our punishment in whatever circle of hell this is, but it’s a far better movie than it ought to be for something that was made to revitalize a brand.
After you’ve captured the entire economy and all the political machinery of a country—it doesn’t matter which, but let’s say Brazil—and you’ve replaced the police with private security, and you’ve brought about massive unemployment, and you’re wondering what else there is for you to do, and you conclude that the only logical answer is to butcher and eat the lower classes, you might belong in The Cannibal Club (2018) by writer/director Guto Parente.
Some traditional cultures shun photography, fearing that the camera can capture the soul. Maybe these cultures are onto something, because that’s exactly what happens in Isa Mazzei and Daniel Goldhaber’s Cam (2018).
In Starfish (2018), we learn that writer/director A. T. White would like to negate us Cthulhu-style, but he’d make sure to do it from our most flattering angle. He’s the PR advance team for the Great Old Ones. Lovecraft, take note. You didn’t think of that.
A demonic possession jumps from person to person to catch up with its “girlfriend” Luz (Luana Velis), a blasphemous Chilean cab driver and talented amateur full-trance medium who needs serious work on her magic circle technique. The movie is Luz (2018). You don’t want to miss it.