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
A farm boy reluctantly becomes a member of the undead when a girl he meets turns out to be part of a band of vampires who roam the… — Horrortainment News
While Synapse FIlms’s announcement might be an April Fool’s prank, our review of Near Dark is not.
Kathryn Bigelow’s “Near Dark” is a masterclass in blending horror and action, creating a thrilling ride that will leave you breathless. This 1987 gem boasts outstanding performances from its talented cast, including Adrian Pasdar, Jenny Wright, Lance Henriksen, Bill Paxton, and Jenette Goldstein.
The film’s pacing is expertly crafted, slowly building tension as our protagonist, Caleb, finds himself entangled in a world of modern-day vampires. The chemistry between the leads is undeniable, making their characters’ interactions all the more believable and unsettling. As the stakes rise (yeah, we went there), Bigelow’s direction ensures that the action scenes are both intense and well-choreographed.
What truly sets “Near Dark” apart, however, is its unique take on vampire lore. By stripping away traditional Gothic trappings, Bigelow creates a sense of realism that makes the horror all the more palpable. The vampires here are not romanticized or sympathetic; they’re brutal, animalistic, and terrifying.
With a gore level that’s “just right,” “Near Dark” is sure to satisfy fans of the genre without becoming gratuitous. Overall, this cult classic is a must-see for horror enthusiasts of all experience levels. So, buckle up and hit the open road with “Near Dark” – but be prepared for a wild and unforgettable ride.
Summary
A man and his son arrive at a rave lost in the mountains of Morocco. They are looking for Marina, their daughter and sister, who… — Horrortainment News
While Oliver Laxe’s Sirāt is not a horror film, it’s also not a film for the faint of heart—or the conventional horror fan. It’s an unsettling, immersive experience that defies genre expectations, blending dread with an experimental narrative style that will leave even seasoned viewers questioning what they’ve just witnessed. Set against the stark, unforgiving landscape of Morocco’s mountains, the story follows a father and son searching for his missing daughter amid a haze of rave culture and existential dread.
The film’s pacing is deliberately unhurried, allowing tension to build slowly but relentlessly. Laxe’s direction emphasizes atmosphere over plot, creating a sense of unease that lingers long after the credits roll. The cast, led by Sergi López, delivers performances that feel raw and authentic, grounding the surreal elements in human emotion.
While the film’s structure may alienate casual viewers, those willing to embrace its avant-garde approach will find themselves deeply moved. Sirāt is a film that demands patience and an open mind, rewarding viewers with a visceral, unforgettable experience that blurs the line between reality and nightmare.
A bold, unsettling journey—essential viewing for fans of experimental cinema.
Film Details
| Director | Oliver Laxe |
|---|---|
| Cast | Sergi López, Bruno Núñez, Stefania Gadda, Joshua Liam Henderson, Richard Bellamy, Tonin Janvier, Jade Oukid, Ahmed Abbou, Abdellilah Madrari, Mohamed Madrari |
| Runtime | 115 min |
| Rating | R |
| Country | Spain, France |
| Budget | $7,000,000 |
| Box Office | $10,445,082 |
| Where to Watch | JustWatch · IMDB |
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.
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