Laura Di Girolamo
Laura Di Girolamo is a writer, film journalist, and the co-director of The Bloody Mary Film Festival, which spotlights female-identifying Canadian genre filmmakers. Her work, which includes reviews and musings on gender and genre, has appeared in Exclaim!, Rue Morgue, Grim Magazine, Daily Dead, Ghastly Grinning, Shudder, and various places around the web and in print. You can read more of her writing at www.lauradigital.com or follow her on Twitter at @laura_digi.
|Publications:||Exclaim!, Rue Morgue Magazine, Daily Dead, Anatomy of a Scream, Ghastly Grinning|
Movie Reviews Only
|Rating||T-Meter||Title | Year||Review|
|7/10||100%||Other Music (2020)||
Other Music makes a case for the continued preservation of cherished public spaces that cultivate a sense of belonging amongst likeminded people - and will definitely make you look up a new band or two. ‐ Exclaim!
Read More | Posted Apr 28, 2020
It's at times baffling, but the surreal web Vivarium draws us into via exceptionally strong production design makes it easier to wave off narrative inconsistencies.‐ Exclaim!
Read More | Posted Apr 28, 2020
|6/10||65%||Annabelle Comes Home (2019)||Annabelle Comes Home isn't much more than spooky funhouse nonsense, but that's all it needs to be - and for the third film in a spinoff franchise, that's pretty darn good.‐ Exclaim!|
|8/10||83%||Midsommar (2019)||As symbolically rich as a Jodorowsky hippie acid trip with the pagan matriarchal horror of The Wicker Man, Midsommar feels like a nightmare that started off as a dream.‐ Exclaim!|
|6/10||78%||Scary Stories to Tell in the Dark (2019)||Format-wise, the film may have benefited from being a more straightforward anthology of shorts based on the stories, which were effective because they were so brutally concise.‐ Exclaim!|
|6/10||24%||The Kitchen (2019)||Dramatic moments can and do work within dark comedies, and vice-versa - but by being both at once, The Kitchen ends up giving its audience cinematic whiplash.‐ Exclaim!|
|7||96%||The Peanut Butter Falcon (2019)||It's elevated beyond cloying corniness by the naturalness of its performances, from Zack Gottsagen's unstoppable energy to Shia LaBeouf's quiet warmth and crushed-but-not-broken spirit. ‐ Exclaim!|
|100%||Love & Peace (2015)||Love and Peace bounces from rock-n-roll cautionary tale to cheesy Muppets Christmas fable to rom-com to kaiju movie, never once landing on boring.‐ Ghastly Grinning|
|8/10||88%||Ready or Not (2019)||A madcap cat-and-mouse game that's exhilaratingly fun...and offers a darkly funny and satirical take on just how ridiculous the rich really are.‐ Exclaim!|
|7/10||63%||It Chapter Two (2019)||As a cohesive unit, this older Losers Club lacks the naturalness and energy that led to the original seven kids being such engaging presences.‐ Exclaim!|
|7/10||97%||Harpoon (2019)||At its core, Harpoon isn't aiming for deep statements about the human condition, opting instead to spin a fun, bloody yarn. ‐ Exclaim!|
|7/10||64%||Paradise Hills (2019)||Director Alice Waddington's feature debut, Paradise Hills, is the very definition of style over substance - but that's not necessarily a bad thing. ‐ Exclaim!|
|6/10||74%||The Wretched (2020)||The Wretched's style harkens back to late '90s / early 2000s horror that revels in moments of corny, deranged, gleefully freaky fun, like a Goosebumps episode for adults.‐ Exclaim!|
|7/10||100%||She Never Died (2019)||Packages a story about trauma and strength within a fun, action-packed sequel that stands tall on its own, with an incredible star turn from lead actor Olunike Adeliyi.‐ Exclaim!|
|6/10||86%||Come to Daddy (2020)||McHattie and Wood have great dramatic and comedic chemistry, but Come to Daddy never regains the first half-hour's sense of bizzaro tension.‐ Exclaim!|