review
4X4 (2019)
Summary
Mariano Cohn's Argentine thriller "4X4" traps a thief and a vengeful doctor in a high-tech SUV, creating a tense psychological showdown that brilliantly examines justice, crime, and class division in Buenos Aires. This festival-recognized, single-location film delivers intelligent social commentary and suspenseful storytelling that deserves more than its modest 5.7 IMDb rating.
A Claustrophobic Showdown of Moral Ambiguity
Director: Mariano Cohn
Writers: Mariano Cohn, Gastón Duprat
Starring: Peter Lanzani, Dady Brieva
Countries of Origin: Argentina, Spain
Runtime: 90 minutes
In Mariano Cohn’s tightly-wound thriller “4X4,” the director transforms a luxury SUV into a claustrophobic prison cell that serves as both narrative device and pointed social commentary on Argentina’s complex relationship with crime, justice, and class division.
The film follows Ciro (Peter Lanzani), a small-time criminal who breaks into what appears to be an unattended high-end SUV parked on a quiet Buenos Aires street. After helping himself to the car’s computer system and defiling the interior, Ciro discovers too late that he’s walked into a sophisticated trap. The vehicle, customized by its owner Dr. Enrique Ferrari (Dady Brieva), is a technological fortress – bulletproof, soundproof, and hermetically sealed from the outside world.
What begins as a straightforward premise quickly evolves into a psychological battle of wills when Dr. Ferrari establishes remote communication with his captive and reveals he can control all of the vehicle’s functions, leaving Ciro at his mercy. What follows is a dark, thought-provoking exchange between two characters who exist in a moral gray area – neither heroes nor conventional villains, but rather two opposing forces shaped by a society fractured by inequality and disillusionment.
Cohn and Duprat’s screenplay tackles “contentious and controversial topics such as enforcing justice outside the law, and the narrow line that separates victims from assailants.” The film asks difficult questions about vigilantism, social responsibility, and the breakdown of institutional justice without offering simplistic answers. The luxury vehicle becomes “a microcosm for Argentina, depicted as a nation that has lost faith in local law enforcement and the justice system.”
Lanzani delivers a remarkably physical performance, conveying Ciro’s escalating desperation while confined to the vehicle’s interior for most of the film’s runtime. Working with limited space, he manages to create a character who, despite his criminal actions, evokes complex emotional responses from the audience. Brieva provides the perfect counterbalance as Dr. Ferrari, whose calm exterior masks deep trauma and calculated vengeance.
The film’s technical elements enhance its claustrophobic tone, with cinematographer Kiko de la Rica making ingenious use of the confined space. Though not “as claustrophobic as the likes of ‘Buried,'” the panic and struggle remain palpable throughout as Ciro watches the outside world continue indifferently while he fights for survival.
Where “4X4” truly excels is in its refusal to provide easy moral clarity. Had Ciro been a more sympathetic character—perhaps someone breaking into the vehicle for noble reasons—the audience might find it easier to pick sides. Instead, Cohn forces viewers to confront uncomfortable questions about justice, retribution, and whether the ends ever justify the means.
Despite being set almost entirely within a single location with minimal characters, the film maintains tension throughout its runtime—a testament to Cohn’s skillful direction and the strength of the central performances. The social commentary never overwhelms the thriller elements, but rather enriches them with meaningful subtext about contemporary Argentine society.
“4X4” was recognized at several international film festivals, including nominations at Sitges, Cairo, and Havana Film Festivals, highlighting its appeal beyond Argentine borders as a universal examination of crime, punishment, and the human tendency toward taking justice into one’s own hands.
While currently holding a modest 5.7/10 rating on IMDb, “4X4” deserves greater recognition for its ambitious storytelling, technical prowess, and willingness to explore complex moral territory. It stands as a worthy 7.5/10—a taut, intelligent thriller that uses its high-concept premise to deliver both entertainment and thought-provoking social critique.
Rating: 7.5/10
Summary
The Woman in the Yard, directed by Jaume Collet-Serra, is a chilling psychological horror film that delves into themes of grief, depression, and emotional decay. The story follows Ramona, a grieving mother haunted by a mysterious veiled woman who symbolizes her internal anguish, as she struggles to protect her children and her sanity. Anchored by a powerful performance from Danielle Deadwyler, the film offers a deeply emotional and unsettling take on the horrors of the mind.
Jaume Collet-Serra directs The Woman in the Yard, a hauntingly dark look into the world of grief, guilt, depression, and suicide.
Ramona (Danielle Deadwyler) lies in bed watching a video on repeat of her deceased husband David (Russell Hornsby). Her teenage son Taylor (Peyton Jackson) interrupts her solemn solitude to inform her that there’s no electricity—which, to a 21st-century teen, spells doom.
Reluctantly, Ramona drags herself out of bed and is forced to confront a harsh reality: piles of unopened letters, little to no food, and a young daughter, Annie (Estella Kahiha), craving attention. Isolated in a farmhouse, with dead phones and a car that won’t start, things only get more unsettling when Ramona encounters the woman in the yard—a black-veiled entity (Okwui Okpokwasili) who cryptically tells her, “Today is the day.” Confused and frightened, Ramona watches as this mysterious figure begins inching closer and closer to the house, while tensions inside continue to boil. What follows is a harrowing fight for the lives of her children, her sanity, and her own survival.
The Woman in the Yard delves into grief and the darkest recesses of the mind with unsettling precision. It explores depression and the yearning for an end to suffering when hope feels lost. Beneath the surface of horror lies a deeper story—this is a film about the horror that lives inside us. The veiled woman is a physical manifestation of despair, creeping ever closer, feeding on pain, and extinguishing light.
Danielle Deadwyler is brilliant as Ramona. You feel the weight of her grief radiating off the screen—her dreams gone, her guilt consuming her, her frustration overflowing. She’s blind to the fact that her children are grieving too. Peyton Jackson delivers a strong, emotionally resonant performance as Taylor, a teen forced into the role of caretaker for his younger sister while their mother slips further away.
Director Jaume Collet-Serra (Orphan, The Shallows, House of Wax) does a phenomenal job bringing the essence of depression to life on screen. And Okwui Okpokwasili, as the mysterious woman, is the very definition of eerie.
Final Verdict
The Woman in the Yard carves its own path in the horror genre. It’s an exploration of the mental darkness we often try to ignore—raw, thought-provoking, and chilling. If you love horror with emotional depth, this one is a must-watch.
Summary
The Glass Dome is a Swedish mini-series centered on Lejla, a traumatized criminologist who returns to her hometown and becomes entangled in a chilling mystery involving a missing child and echoes of her own abduction. As the story unfolds, the psychological thriller intensifies with twists, strong performances, and haunting Scandinavian scenery. A gripping Nordic drama, it balances emotional depth with atmospheric suspense, making it a standout recommendation for horror and mystery fans
The Swedish mini-series The Glass Dome follows Lejla (Leonie Vincent), a criminologist who returns from the United States to her small hometown of Grånas, Sweden, for the funeral of her adoptive mother. Lejla’s past is marked by deep trauma—she was abducted as a child and held captive for nearly a year before managing to escape. During her disappearance, her biological mother died by suicide, overwhelmed by grief. Lejla was then adopted by Valter (Johan Hedenberg), the police investigator who handled her case, and his wife Anne-Marie.
Upon returning home, Lejla finds the community in turmoil. The expansion of a local mine, managed by Said (Farzad Farzaneh), has sparked environmental and social unrest. Things take a darker turn when Said’s wife and Lejla’s childhood friend, Louise, is found dead—an apparent suicide. But their young daughter Alicia (Minoo Andacheh) has also gone missing and when her neatly folded clothes are discovered at the entrance to one of the mines, it becomes clear that she’s been abducted.
Initially, suspicions fall on upset locals seeking revenge for the mine’s environmental damage—especially when Louise’s death is ruled a staged suicide. But when another girl disappears, Lejla begins to fear that her own childhood captor may be at large once again. With the help of her adoptive father Valter and her enigmatic uncle Tomas (Johan Rheborg), Lejla races to uncover the truth before it’s too late.
This Nordic thriller, with its eerie atmosphere and psychological horror elements, is absolutely riveting. The narrative is rich with twists and turns—just when you think you’ve figured it out, the story pivots in a new direction. But it never feels convoluted. Every piece fits together in a chilling but satisfying conclusion.
The acting is exceptional. Vincent delivers a compelling performance as Lejla, skilfully portraying a woman haunted by her past yet determined to save others from a similar fate and in conclusion resolve her own ghosts. Rheborg and Hedenberg are equally strong in their roles, grounding the series in emotional authenticity. The haunting tone, paired with bleak and beautiful Scandinavian landscapes, adds to the overall atmosphere of quiet dread.
Final Verdict
While The Glass Dome is not a traditional horror series, it’s a must-watch for horror lovers. Its psychological undertones, unsettling mystery, and suspenseful pacing slot it perfectly into the more subtle realms of the genre. Nordic thrillers rarely disappoint, and this one is no exception. Plus, for those who shy away from subtitles, it’s available dubbed in English on Netflix. Don’t miss it.
Summary
It Feeds follows therapist and psychic Cynthia Winstone as she encounters a malevolent entity attached to a new patient, Riley, sparking a terrifying series of events. While the film delivers striking visuals and a creepy creature design, its plot suffers from disorganization and mismatched stylistic choices. Despite its flaws, the film marks director Chad Archibald as a promising talent in horror.
Cynthia Winstone (Ashley Greene) is a therapist and psychic medium who helps her patients recover from past trauma. Her daughter, Jordan (Ellie O’Brien), works as her assistant, though she’s unsure if she’s inherited her mother’s abilities. Her father, also a medium, tragically died due to negative forces.
One afternoon, a distressed girl named Riley Harris (Shayelin Martin) arrives at their home, desperate for help. Her father, Randall (Shawn Ashmore), was referred to Cynthia by a former patient, Agatha (Juno Rinaldi). While Jordan begins taking Riley’s case history, Cynthia enters the room and is immediately horrified by the entity feeding off Riley. Refusing to treat her, Cynthia is visibly shaken—relieved when Randall suddenly arrives to take his daughter away. But Jordan can’t shake the encounter, and what follows is a dark and dangerous confrontation with both supernatural and human threats.
Writer and director Chad Archibald shows promise in the horror space with It Feeds. While the film has moments of tension and visually striking effects—particularly the demonic entity, which is genuinely unnerving for horror newcomers—the narrative often feels cluttered and chaotic. It tries to juggle too many elements, losing focus in the process.
One major distraction is the baffling costuming. In pivotal scenes—especially during confrontations with the entity—the Gothic wardrobe choices for Cynthia and even Riley feel out of place and unintentionally comical. These costume choices don’t serve the story and feel like a misplaced attempt at visual flair that ultimately detracts from the atmosphere.
It Feeds comes across like a mix of Insidious, It Follows, and The Conjuring, tossed together in hopes of capturing that familiar formula. With a more streamlined plot and clearer direction, it could have been much more effective. The acting is decent but doesn’t particularly stand out, though the creature design is a clear highlight and arguably the strongest part of the film.
Final Verdict
While It Feeds may satisfy those new to horror, it doesn’t bring much innovation for seasoned fans of the genre. That said, Chad Archibald’s potential is clear. With a tighter script and more focused vision, his future projects could be well worth watching. I’ll definitely be keeping an eye out for what he does next.
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