Haeuhhwa (Love, Lies) (2016)
Richly textured, evocatively lit, tragic love triangle during 1940s Japanese occupation of South Korea features fascinating collision of traditional and new music, as well as influence and abuse of trained courtesans. Gorgeous leads enliven absorbing tale.
Haeundae (Tidal Wave) (2009)
Firm production values and blistering action of promised disaster barely compensate for sketchy relationships established in summer coastal city. Some appealing performances, others tend to the hysterical. Tragedy and occasional visuals grab attention.
Halloween (1978)
Fifteen years after stabbing older sister, primal killer returns, silent, emotionless and ready to murder once more, as innocently resourceful babysitter Jamie Lee Curtis does best to protect kids. Will she survive? Told with stylish visuals and unnerving score, classic slasher thriller is perfect for the holiday. [MB]
The Hand That Rocks The Cradle (1992)
Reveling in B-movie dynamics, Rebecca De Mornay is suitably seductive and unhinged as the nanny wrecking cool revenge on Annabella Sciorra's perfect suburban family. Never subtle, uneasy edge permeates with wicked mischief, resolving with satisfactorily violent showdown.
The Hand That Rocks The Cradle (2025)
Solid production aids plainly told revenge, as engaging nanny Maika Monroe enters suburban life of busy lawyer Mary Elizabeth Winstead, gradually destabilizing family unit. Tension bubbles without really taking grip, lacking sense of wit and thrills to elevate genre revelations.
The Hangover (2009)
Astute balance of affection and cruelty for three friends who wake in Vegas with no memory of bachelor party. Central performers help ensure search for disappeared bridegroom retains a fresh, comic momentum even when laughs and characters flag amid conventional resolutions.
Hangover Square (1945)
Uneven mix of melodrama and noir, often strikingly shot, as an unstable composer turns killer in gas and candlelit London. Bernard Herrmann's music is evocative, insightful, sweeping and culminates with the mad finale where it gloriously reveals its pure mastery.
Hanna (2011)
Pitched in fever-dream of self-conscious visuals and broken narrative, reclusive teenage assssin Saoirse Ronan emerges from wilderness to face brutal CIA agent Cate Blanchett and discover true origins. Bold lead retains interest, yet off-beat approach eventually suffocates thrills.
The Happening (2008)
Nature takes its revenge as people are driven to kill themselves and each other, and for a solid first half the filmmaking is eerily effective. Once Mark Wahlberg and Zooey Deschanel reach the depths of country, however, it rapidly disintegrates with comical self-seriousness.
Happiest Season (2020)
Stellar cast enliven unremarkable characters in enjoyably standard Christmas tale. Visiting persuasive Mackenzie Davis' conservative parents, reluctant Kristen Stewart agrees to hide their romantic relationship, until revelations spark changes for entire family. Comfortable comic spirit.
Happiness For Beginners (2023)
Hiking adventure on Appalachian Trail for disparate, damaged group of strangers results in clunky exposition and life lessons, with uncomfortable divorcee Ellie Kemper finding younger brother's annoying best friend Luke Grimes also present. Light comedy, minor emotion, colorful visuals.
Happy Death Day (2017)
Anchored by a committed, energetic central performance by Jessica Rothe, an involving comedy that doesn't have much on its mind, but just about covers plot machinations with self-aware wit and energy.
Happy Death Day 2U (2019)
A playful extension of the original sees Jessica Rothe finds the cause of her time loop is a student physics experiment that strands her in a parallel dimension. Less slasher, more sci-fi, same self-aware comic tone. Bear McCreary delivers a terrific score.
Happy Go Lovely (1951)
Bright, slight romantic comedy, with aspiring dance star Vera-Ellen given a break when desperate producer Cesar Romero believes she's going out with wealthy David Niven. Set in Edinburgh yet strictly studio bound, solidly predictable, lacking in inspiration.
Hardcore (1979)
Suitably seedy drama sees devout George C. Scott's literal and moral descent into California's sex industry after grimy detective Peter Boyle finds his disappeared daughter in cheap porn film. Alliance with equally lost Season Hubley provides intriguing heft and bitter resolution.
Harvey (1950)
Irresistible, soulful comedy as James Stewart and his six foot invisible rabbit overcome prejudice to beguile initially skeptical characters, who all need something to believe in. Sparkling performances capture emotion as well as farce, while pacing maintains playful touch. An enduring classic.
The Hating Game (2021)
Smartly styled with attractively fractious leads, creatively idealistic Lucy Hale determines to fight back against rigidly efficient Austin Stowell for publishing house promotion. Romantic attraction and character truths predictably soften narrative beats and potential bite.
Hauru no ugoku shiro (Howl's Moving Castle) (2004)
Classically structured fairytale illuminated by beguiling characters and disarming detail as introverted milliner Sophie seeks help of young wizard to break curse. Battling kingdoms provokes anti-war sentiment while sweeping style accentuates comedy and romance.
Haywire (2012)
Stylish, breezy chase thriller, fluid visuals and pace keeping action humming as unrepentant, ex-army Gina Carano is framed during government mission and leaves broken bones on her vengeful path to truth of betrayal. Cast subsumed by purity of relentless thrills.
He Walked By Night (1948)
Blunt docudrama approach and expressively lit visuals make effective use of gritty Los Angeles locations as police hunt for callous, icy killer Richard Basehart. Narrative taut and lean, true story origin builds momentum with edgy grip and tense set pieces.
Head Above Water (1996)
With off-kilter innocence and practical manipulation, Cameron Diaz is confronted by ex-boyfriend's Billy Zane's dead body as well as husband Harvey Keitel and childhood friend Craig Sheffer's doubtful motives. Never quite balances or embraces the dark comedy and thriller potential.
Heads Of State (2025)
Broad visual and verbal comedy takes appealing aim at geopolitical tensions through bickering leads, movie star turned U.S. president John Cena and army vet UK prime minister Idris Elba. Revenge plot and conspiracy threat add to fanciful action and final international solidarity.
Heart Of Midnight (1988)
Equal parts disturbing and clumsy, as unstable Jennifer Jason Leigh inherits uncle's seedy club only to find lingering secrets literally within the walls. Themes of mental breakdown and incest contaminate impenetrable and dry narrative despite piercing lead performance.
Heart Of Stone (2023)
Anonymously produced series of elaborate action set pieces interrupted by leaden explanations about all-seeing, predictive super-AI that guides athletic Gal Gadot and secretive international agents. Superficial in theme and narrative, solid performers unable to invest empathy.
Heartbreakers (2001)
Pleasingly cynical and deeply unromantic mother and daughter con team Sigourney Weaver and Jennifer Love Hewitt successfully fleece frustrated Ray Liotta before taking aim at chain smoking Gene Hackman. Raucous energy and devilish performances deliver on laughs and twisting narrative.
Heaven Can Wait (1943)
Playful and constantly amusing, peppered with sly wit and laugh out loud moments, Don Ameche's hero is as charming and devious as the narrative. Sumptuously lit and designed, with a magnetic Gene Tierney supplying the heart that can keep him out of hell.
Heaven's Gate (1980)
Poisoned, resonant foundations of American dream permeate epic vision of 1890s Wyoming conflict between ranchers and immigrants. Sweeping visuals capture the poetic and brutal, yet ambition of consuming set pieces overwhelm needed narrative and character coherence.
Hedda (2025)
Bathing in hedonistic indulgences of 1950s British upper class society proves fertile setting for Tessa Thompson's power games, suffocated by husband Tom Bateman and longing for sensual release of writer Nina Hoss. Bracing adaptation maintains brisk momentum without quite penetrating characters.
Helena From The Wedding (2010)
A group of friends gather at a remote cabin to celebrate New Year. Alcohol, drugs, and frayed emotions ensue. Even with the arrival of the titular interloper nothing much interrupts the empty lives and emotions. Bland visuals match insecure characters.
Hell Drivers (1957)
A pristine print of this classic, gritty action drama, provides a real appreciation for the technical skill of the sound mix and the mastery of Geoffrey Unsworth's gleaming photography. Muscular cast and direction provide a real punch to the fast-moving story.
Hell Or High Water (2016)
Equal parts sand-blasted thriller and seething social critique, as retiring Texas Ranger Jeff Bridges hunts desperate bank robbers Chris Pine and Ben Foster. A gritty modern western with a smart script that persuasively opens up narrative and characters.
De helleveeg (The Fury) (2016)
Powered by a mesmerizing, raw Hannah Hoekstra, her contradictory, damaged emotions over the years seen through eyes of a young nephew. Fine design and controlled visuals span the decades and illuminate prejudices and desires. Challenging, bracing, compelling.
Hello I Must Be Going (2012)
Suffering after a divorce, aimless Melanie Lynsky is forced to move in with her parents but finds unexpected rejuvenation in an affair with a college student. Built from small moments, a carefully told and tender study with a beguiling lead performance.
Hello, Love, Again (2024)
Told with appealing openness, love story reverberates through the years as resolute Kathryn Bernardo and sincere Alden Richards face tense reunion in Calgary. Romantic intensity and stresses of Filipino immigrants, as well as 2020 covid isolation, underpin raw emotions.
Hellraiser (1987)
Suffused with cold dread, desire and death conflated as glimmering puzzle box conjures cruel, demonic Cenobites who celebrate pleasures of pain. Flimsy plotting allows ethical Ashley Laurence to expose bloody set pieces, enhanced by Christopher Young's darkly elegant score.
Hemel (2012)
Ferocious, unrepentant Hannah Hoekstra searches for sparks of tangible emotion in the shadow of carefree father. Dreamy soundtrack and style confronts provoking subject matter, creating a character tension as gripping as it's ultimately poignant. Fascinating and brutal.
Henry's Crime (2010)
Uneasily levering heist drama with backstage theatre comedy, deliberate pacing and stuttering narrative nullifies character as Keanu Reeves eyes same bank he was wrongly imprisoned for robbing. Absorbed actress Vera Farmiga and charming conman James Caan provide zest amid solid visuals.
Here Comes Mr. Jordan (1941)
Imbued with rare wit and faultlessly constructed characters, comedy shines through tale of confident boxer Robert Montgomery mistakenly brought to heaven too early and returned to new body by calm Claude Rains. Optimistic view of life's destiny provides for emotional conclusion with believing Evelyn Keyes.
Here Today (2021)
Bridging acerbic insider humor with humanely sentimental drama, friendship between Billy Crystal's veteran gag writer and aspiring singer Tiffany Haddish develops with appealing affection as reality of ongoing dementia is faced. Staging and pacing more unsure.
Hereditary (2018)
Family divisions and loss permeate the deliberate, oppressive mood which builds to a climax equal parts horrifically unnerving and grisly hysterical. A wide-eyed Toni Collete fast goes off the edge after daughter dies, guilt crushing fragile bonds as sinister past reveals future evils.
Heretic (2024)
Unease gradually permeates visit of missionaries, careful Sophie Thatcher and eager Chloe East, to remote home of welcoming Hugh Grant, whose questions of faith rapidly become more intense. Themes of religious and personal control resolved with richly atmospheric fear.
Hidden Figures (2016)
Immensely enjoyable and ultimately moving correction to the space race of the 1960s as key African American women prove the difference in deciphering needed mathematics. The issues of race and gender are ever present though not heavy-handed. Performances winning.
High Noon (1952)
Defining Western keeps ticking clock structure tight, with Dimitri Tiomkin's score and brisk visuals honing dramatic and political punch as principled lawman Gary Cooper faces outlaws alone. Sympathetic support from Quaker wife Grace Kelly, hoping to leave past behind.
High Plains Drifter (1973)
Primal revenge Western sees brutal Clint Eastwood emerge from coastal town's collective guilt and face violent killers. Harsh visuals feed on crude violence and bleak humor, a contrary, provocative study in cursed immorality that creates a blood-red landscape.
High Society (1956)
Louis Armstrong sets up lush production and snappy Cole Porter songs as relaxed composer Bing Crosby looks to win back obstinate Grace Kelly before she re-marries while cynical reporter Frank Sinatra revels in Rhode Island luxury. Light involvement features moderate humor and even less dramatic stakes.
High Treason (1951)
Shot with a semi-documentary efficiency and making smart use of atmospheric London locations, a persuasive thriller with police on the track of Soviet saboteurs seeking to blow up power plants and bring down government. Well drawn characters amid paranoid times.
A High Wind In Jamaica (1965)
Handsomely, expansively mounted adventure, staged with conviction. After a storm rips apart their tropical home, children sent to England are captured by pirates. Irrepressible Anthony Quinn evolves from violent captain to doomed protector, yet narrative and character strands never quite cohere.
Higher Ground (2011)
Like her thoughtful, affecting performance, Vera Farmiga proves a clear, generous director, telling a 60s set tale of fundamentalism and cracks of religious doubt. Visuals are warm, characters presented without judgement, drama and humored etched with compassion and insight.
Highly Dangerous (1950)
Insect expert Margaret Lockwood is sent undercover to spy on potential biological weapons in eastern Europe. An awkward mix of comedy and thrills never finds the right and never builds a fluid momentum, only reminding of better films. Good cast compensates.
Highwaymen (2004)
Muscular opening sequences feature shock killing to establish Jim Caviezel's revenge momentum and bloody tunnel pile-up to leave Rhona Mitra as survivor and bait for the psychopath. Stripped bare of plot and character, accomplished car action can't salvage unconvincing exposition.
The Highwaymen (2019)
Absorbing, robust study of old-fashioned policing leading the hunt for Bonnie and Clyde, even if the opening sections drag and the whole is too long. Nevertheless, Kevin Costner and Woody Harrelson are engaging companions and the story gradually gains depth.
Hillbilly Elegy (2020)
Precisely made and told, with impressive, committed performances from Amy Adams and Glenn Close, yet offering nothing new in terms of social or political view, and nothing surprising in narrative or character development. Frustratingly inert and unemotional.
His Girl Friday (1942)
Giddy, breakneck comedy, piling up gags and verbal games with polished ease and spontaneous relish, building a fearless momentum as manipulative editor Cary Grant spars with uncompromising star reporter Rosalind Russell. Unflagging pace retains fresh appeal.
The History Of Mr Polly (1949)
Handsomely produced, with evocative and lively sets and locations, HG Wells' Alfred Polly is brought to life with intelligent simplicity and empathy by John Mills. Supporting cast, especially Megs Jenkins, are equally good, though tonal shifts between comedy and drama aren't always successful.
Hit Man (2023)
Darkly humorous thriller allows unremarkable professor Glen Powell to pose undercover as hitman for New Orleans police until sympathy for vulnerable Adria Arjona sends him into noirish descent. Themes of identity and character swirl amid sexy suspense and broad laughs.
The Hitman's Bodyguard (2017)
Languid assassin Samuel L Jackson and agitated security expert Ryan Reynolds cause havoc across Europe, gratuitously synthetic action and pop violence punctuated with self-aware wordplay and a maniacal Gary Oldman. Mild comic interest amid glossy production values.
Hitman's Wife's Bodyguard (2017)
Fiery Salma Hayek adds some energy to numbing sequel that, despite persuasive visual sheen, never rises above intermittently interesting action and comedy. Bickering Samuel L Jackson and Ryan Reynolds run on dialog fumes with floundering narrative.
The Holdovers (2023)
Stylistically celebrating seventies aesthetic, bruised souls alone at New England prep school over Christmas provoke more hopeful futures in each other. Schematic structure won over by Paul Giamatti, Da'Vine Joy Randolph, and Dominic Sessa's true performances and true with movingly humane touch.
Holidate (2020)
Concept of unattacheds pacting to be platonic couple for each social holiday mines interesting theme and benefits from appealingly hurt Emma Roberts and candid Luke Bracey, while trading in coarse humor and forced situations. Always predictable, tempo keeps feelings bright.
Holiday (1938)
Bright comedy sees spirited cast embracing social and physical laughs as unpretentious Cary Grant is thrust into established New York wealth and finds marriage plans upended by his fiancée’s equally singular sister Katharine Hepburn. Without escaping confined setting, fluid pace keeps amusement humming.
Holland (2025)
Studied visuals and setting forges off-beat atmosphere as seemingly contented Nicole Kidman senses cracks in married life with suspicious Matthew Macfadyen and enlists fellow teacher Gael García Bernal to uncover truth. Unsettling humor turns to dark thrills without convincing.
Hollow Triumph (1948)
Melodramatic thriller somehow resists going completely off the rails as psychotic gangster Paul Henreid goes on the run and hides by taking the place of psychiatrist double. Wary Joan Bennett faces cruel dreams as shadows deepen to provide pleasingly twisted ending.
The Homesman (2014)
Artful visuals and unsettling soundtrack capture hostile environment of brutal prairies that sends three women insane, taken east for help by stubborn Hilary Swank and reluctant Tommy Lee Jones. Strong cast and effective drama, until third act shift that, despite moving moment of redemption, loses intense focus.
Hommage à l'amour (2020)
Best when staging and performers play loose, less successful when narrative and theme are more rigidly self-conscious. Insecure writer Anthony Vazquez spirals through relationships with spirited Léa Catania and careful Ashton Solecki with intermittently involving results.
L'Homme qu'on aimait trop (In The Name Of My Daughter) (2014)
Dry telling of true-life mystery strips away sensationalism for fuzzy local politics of wealthy casino owners, as dominant Catherine Deneuve's insecure daughter Adèle Haenel goes missing. Manipulative Guillaume Canet is prime suspect. Lacks focus and spark despite carefully conceived 70s feel.
Horangiboda Museoun Gyeoulsonnim (A Tiger In Winter) (2017)
Quietly effective reflection on the frustration of creativity and loneliness, as failed writer Lee Jin-wook reconnects with ex-girlfriend and successful novelist Go Hyun-jung. Open visuals aid poignant, rewarding character developments.
Horrible Bosses (2011)
Genial cast manages to sell broad, coarse humor with generally amenable results as put upon friends Jason Bateman, Charlie Day and Jason Sudekis plan murder with suitably chaotic results. Unaffected style keeps steady pace and allows predatory Jennifer Aniston to shine.
Horrible Bosses 2 (2014)
Diminishing returns for sequel that apes original tone while marooning Jason Bateman, Charlie Day and Jason Sudekis as putative entrepreneurs planning kidnap to save business. Conceited Chris Pine adds spark and a few set pieces win, while comedy skews cruder.
The Horror At 37,000 Feet (1973)
Plain style does little to conjure suspense for increasingly preposterous tale of evil force awakening from possessed altar in hold of transatlantic flight. Actors play it straight amid sketchy effects, as expansive airplane set only accentuates threadbare creativity.
Horse Girl (2020)
Alison Brie's unflinching performance captures an awkward, painful descent into mental obsession and disintegration, even as thoughts emerge that alien abduction is more than fantasy. As offbeat turns to surreal, a pervading sadness proves more provocative.
The Host (2006)
A dizzying tonal blend of physical comedy, family melodrama and social satire wrapped up within the popcorn thrills of a monster movie. After the creature emerges from the Han River, a family searches for the youngest daughter. A dark fun ride, smartly shot and paced.
Hot Frosty (2024)
Dominant concept sees insular Lacey Chabert will buff snowman Dustin Milligan to life and attempt to stop him from melting. Without charm, sketchy development relies on broad humor set against bland visuals; brisk pace means unpretentious approach remains inoffensive.
The Hot Spot (1990)
Bleached, small town noir, told with sweaty ease, as amoral and doomed Don Johnson plans bank job to run off with fragile Jennifer Connolly but can't escape clutches of designing Virginia Madsen. Gratuitous nudity, blackmail and murder unfolds with sleazy style.
Hot Tub Time Machine (2010)
Committed to narrative and characters that remain deliriously dumb, broad and coarse comic intent overrules any logic of bruised men returning to 80s high school for life changing lessons. Brightly realized and paced, more works than it should as engaging cast embraces the inanity.
Hotel Artemis (2018)
Riot torn, crime infested Los Angeles is home to the titular, membership only medical facility for killers, crooks and hoods, overseen by blunt, frayed Jodie Foster. Seedy visuals and characters mesh with self-aware humor, cruel violence and dearth of originality.
House By The River (1950)
With an enveloping sense of doom and madness, as the churning river drags up secrets that can't be hidden, deranged writer Louis Hayward uses murder to hype up sales. Effective design and visuals, yet the narrative flounders and ragged pacing lessens impact.
A House Of Dynamite (2025)
Clinical buildup of tension initially details increasingly distressed Situation Room reaction to nuclear missile attack and futile attempts to stop its reaching American soil. Structural repeat of timeline from different perspectives as military response is considered remains uneasily involving if not quite as vital.
House Of Games (1987)
As deceptive and twisting as its engaging con artists, an enjoyably sly narrative provides sharp characters and surprises as psychiatrist Lindsay Crouse becomes intoxicated by Joe Mantegna's manipulative games. Dark hues and dark minds feed bracing conclusion.
House Of Sand And Fog (2003)
Immaculately produced and convincingly performed, yet scratchy pacing and structure dampens effect as broken Jennifer Connolly battles to reclaim family home from conflicted Iranian immigrant Ben Kingsley. Tragedy maintains interest without engendering involvement.
House Of Strangers (1949)
Framed by return of intense Richard Conte after release from jail, conflict emanates from domineering financier Edward G Robinson's controlling disdain for family and business. Melodrama of revenge and redemption told with stylish edge, including a gutsy Susan Hayward.
The House Of The Seven Gables (1940)
Dialing down Gothic atmosphere, yet stiill conjuring suitaby cursed Pyncheon family, as spirited Vincent Price is wrongly convicted of father's murder by malicious brother George Sanders. Innocence turns to bitter revenge for Margaret Lindsay. Handsomely mounted and effective melodrama.
The House On Carroll Street (1987)
Polished production establishes Hitchcockian visual and narrative stylings, as principled Kelly McGillis, under McCarthy era pressure, stands up to FBI agent Jeff Daniels and uncovers government plot. Solidly involving yet pace never builds thrills.
The Housekeeper's Daughter (1939)
Spirited comedy sends up newspaper and gangster genres with scattershot success. Appealing cast indulges in energetically convoluted excess as knowing Joan Bennett tries to ditch mob connections until she becomes involved with confused, wealthy John Hubbard and mocking reporter Adolphe Menjou.
How Green Was My Valley (1941)
Artistry suffuses every frame of Ford's expertly realized story of hope and loss (personal and community) in a Welsh mining community. Sentimental in the best sense, the collective talent in front and behind camera makes for supreme entertainment.
How I Live Now (2013)
Grounded with intense detail that weaves teen freedom with grim aftermath of terrorist nuclear attack, unsettled Saoirse Ronan sees love and family with British cousins torn apart by vicious warfare. Potent performances and technical effectiveness lacks satisfying resolution.
How To Murder Your Wife (1965)
Confirmed bachelor cartoonist Jack Lemmon finds marriage when Virna Lisi bursts out of a cake. Terry-Thomas is his outraged butler. Canny mix of verbal and physical comedy, chauvinistic battle of the sexes skewered with the gloppitta-gloppitta machine.
The Howling (1981)
Snappy mix of thrills and comedy, with satiric media jabs and gooey transformations, as nightmare-plagued reporter Dee Wallace finds therapist Patrick Macnee's 'Colony' is a refuge for ravenous werewolves. Horror pastiche and self-aware cameos never detract from gleeful, savage chills.
Huan qian (Breaking And Re-Entering) (2024)
Snappy heist action with accent on comedy and playful narrative flips as confident Chen Bolin, with help of unforgiving old flame Cecilia Choi, needs to plot his gang's return of stolen bank money before theft is noticed. Polished and diverting.
Hudson's Bay (1940)
Extravagantly produced, romanticized history of the Canadian trading company's origins, with heavily French accented Paul Muni and Laird Kroeger, a double act of self-proclaimed rogues, pioneering for Vincent Price's King Charles. Luminous Gene Tierney remains in London.
The Hunger Games (2012)
Creation and portrayal of Jennifer Lawrence's bow-wielding warrior, forced into authoritarian survival contest, is a winning blend of athleticism, vulnerability and gritty intelligence. Sci-fi cruelty and social / political themes unforced, jittery visuals more distracting than energizing.
The Hunger Games Catching Fire (2013)
Assured visuals and design accentuate narrative's thematic development and growth of Jennifer Lawrence's accidental rebel hero despite vicious manipulation of dystopian leader Donald Sutherland. Expansive feel benefits political and character unrest and intrigue. (AS)
DB: **
The Hunger Games Mockingjay Part One (2014)
Solid production and performances maintain interest in meandering narrative that treads water rather than provides dynamic character and political development. Jennifer Lawrence's angry, manipulated rebel icon and finely tuned James Newton Howard score soar.
The Hunger Games Mockingjay Part Two (2014)
Fittingly dark, bruised survivors embark on final mission to seek revenge on sadistically controlling Donald Sutherland even as power-hungry Julianne Moore hovers. Savage action heightens bleak intensity and Jennifer Lawrence's final act, even if coda feels forced.
The Hunger Games The Ballad Of Songbirds & Snakes (2023)
Solidly told dystopian thriller focuses on resolute Tom Blyth's drive to restore family's significance while becoming mentor to defiant Rachel Zegler in surviving violent survival tournament. Strong cast and song score, though resolve lacks resonance.
Hungry Hill (1947)
Lavish production values, sumptuous score by John Greenwood and captivating set pieces (in particular a dazzling dance sequence that transforms from sedate waltz to exuberant jig) can't glue together the fragmentary narrative. Interesting rather than involving.
The Hunt (2020)
Energetically styled with cartoon violence, dark humor occasionally sparks thrills as working class stereotypes are kidnapped for superior, liberal elites to pursue and kill in remote forest. Though blunt political satire falls flat, a fierce Betty Gilpin fights back with an earthy, electrifying turn.
The Hurricane Heist (2017)
Fanciful concept adheres to title without truly embracing wild potential as plan to rob Alabama treasury facility with storm in progress is defied by local brothers and resolute government agent with blandly uninvolving results. Sleek sheen and blast of visual effects can't compensate.
The Hurricane Season (2009)
Grounded in New Orleans community devastation after Katrina, determined basketball coach Forrest Whitaker rebuilds school remnants into winning team. Solid visuals and ensemble drama hits persuasive moves until fuzzy, hurried third act dampens momentum.
Hush (2016)
Precise visuals and immersive use of sound places the viewer with deaf writer Kate Siegel as she is terrorized by anonymous killer John Gallagher Jr in her remote cabin. Echoes of Stephen King and streamlined slasher structure are effective, even if it tends to run out of steam.
Hwacha (Helpless) (2012)
Solidly produced and slickly told, uncomplicated vet Lee Sun-kyun becomes increasingly obsessed after fiancée Kim Min-hee disappears at highway service station and disgraced detective cousin Jo Sung-ha starts to uncover her shifting identity. Cloudy structure diminishes dark thrills.
Hyehwa, Dong (Re-Encounter) (2011)
Quietly effective tale as Yoo Da-in leads a subdued life rescuing abandoned dogs until former boyfriend Yoo Yeon-seok resurfaces to reveal the baby daughter they thought had died was given up for adoption. Aching sense of loss leads to bitter revelations.