Film Cred

Film Cred


Devoted to providing up-and-coming film writers with feedback, a platform, and a community.


Recent reviews

“CODA’s strengths are in the film’s ability to tug at familial heartstrings. In Ruby’s relationships with her family, she finds both comfort and friction. In response to the friction, Ruby rebels — a teenage rite of passage. In CODA, however, teenage rebellion does not mean that Ruby goes off on a journey of self-discovery alone. Unlike in many coming-of-age films, Ruby’s parents are primary characters who both provide support”

Read more of Sydney Bollinger’s review here

“Despite Petite Maman’s compact 72 minute runtime, its themes are constantly maturing, and these young actresses excel at growing along with them. What’s conveyed is a sense of duality to Nelly and Marion, as they grapple with their newfound capacity for introspection while also never losing sight of their adolescent joys.”

Read more of Tyler “Llewyn” Taing’s review here

“If Raw was a tender coming-of-age story through a sensual desire for the taste of human flesh, then Titane is a sweet and loving film on the power of family and the importance of human connection. Of course, if you can get past all of the gore and bodily violence the film throws at you, you’ll find the most creative film of the year.”

Read more of Maxance Vincent’s review here

“While it starts as a promising movie, Kate steadily deteriorates with every frame. The story itself doesn’t have much meat on its bones to be engaged with. It is familiar, with a predictable plot and twist which you can guess within the first two minutes. Even the action sequences are hit and miss, mostly because of how little you care about the character’s journey.”

Read more of Rohit Shivdas’ review

“There is a clear love and understanding of the “seedier” parts of horror throughout Malignant. It knows that not everyone will love or get it, and Wan and co. are more than happy with that”

Read more of Erin Brady’s review here

“While the myriad of ideas that Nia DaCosta seeks to explore might leave one feeling overwhelmed by the sum of its parts, Candyman’s central question is one it explores right up to the final minute mark: What is the utility of Black pain? What is the purpose of this horrific interconnected story, this generational legacy connecting us to the bloody foundations this nation was built on?

Black pain isn’t here to be exploited, weaponized, digested or devoured by those seeking a quick fix of intellectual stimulation.“

Read more of Chrishaun Baker’s review here

"Shelf Life is still a Paul Bartel comedy, though, with all the bawdy, subversive satire that entails. So, in addition to these bleak glimpses into the St. Clouds’ hateful upbringing, the film is filled with camp flourishes and elements of farce.


The costumes and props are hilariously, depressingly decrepit. The characters clearly outgrew their shabby clothes a decade or two ago, and the garbage heap chic of their most prized possessions reflects both their dwindling resources and the magpie tendencies of children."

Read more of Jessica Scott's review here

"The beauty within The Last Matinee is how the film can both be a meta-horror film and a typical horror film. Although the film’s first act is entirely bloodless, the meta-horror becomes apparent. The characters within the film are people we may have come across during our movie theatre experience and play as your typical moviegoer groups.


While some character’s purpose is solely for a fairly high body count, others like Tomás (Franco Duran) are used to execute a…