What would you do if you were alone in the remote Tennessee woods and stumbled upon a large, masked person crying in the middle of hundreds of dirty, broken dolls? If you’re Seann William Scott’s character in Dolly, you go right up to that person, tap them on the shoulder, and attempt to communicate with them. And then you get lifted up by the neck, as if you’re a Darth Vader victim, and get hit repeatedly by a shovel.

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"Distributor Neon is being cagily secretive about the particulars of Keeper’s storyline, and you won’t find many of those details here either. What can be said is that although this is Perkins’ second feature after Gretel & Hansel that he didn’t write himself (Dangerous Animals’ Nick Lepard did the scripting honors), it becomes very stylistically identifiable as the work of the filmmaker who gave us The Blackcoat’s Daughter and Longlegs. Perkins likes to find the horrific in the everyday, locating unspeakable sights (and sounds) in such mundane settings as a school, suburban homes, and, here, the ever-popular cabin in the woods."

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There’s a deft balance at work in Heart Eyes that allows the film to exist as both a sweet and sexy rom-com and a twisty, sharp-toothed slasher. Despite this seemingly strange marriage of subgenres, which ultimately works to the film’s benefit and sets it apart from its contemporaries, don’t mistake this for a soft-toed dalliance with horror. Heart Eyes is a steel-toed boot to the neck that runs full steam ahead with an appetite for everything you’d want to see from a slasher. - Richard Newby

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“Backyard wrestling, Satanism, and a little Saw thrown in” is a good enough pitch to get me in the door and, by and large, Dark Match kept me there. This grimy, low budget film will never be accused of being too original, but it’s not dull, thanks to a swift pace and some good performances. - Jordan Hoffman

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GRAFTED gets gross. Sasha Rainbow's debut feature is a queasy launch for the up and coming filmmaker.

While the film doesn’t reinvent the wheel, and its “throw it all against the wall” approach to tone is considerably scattershot, director Sasha Rainbow, making her feature debut, executes several giddy gross-out moments, enough to make this a worthwhile couch stream. - Jordan Hoffman

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