A young Black girl goes missing in the woods outside her white rust belt town. But she's not the first—and she may not be the last. . . .
Liz Rocher is heading home for her best friend's wedding, and she is not looking forward to it; as a Black woman, Liz had a hard time growing up in Johnstown, Pennsylvania, a primarily white town. And then, on the wedding day, the couple's daughter, Caroline, vanishes—and the only thing left behind is a piece of white fabric covered in blood.
Liz has seen this before: Keisha Woodson, the only other Black girl in Liz's high school, disappeared into the woods and was later found with her chest cavity ripped open and her heart removed. And Keisha and Caroline are not the only ones. Someone is taking black girls.
THE MIDNIGHT CLUB on Netflix
The reaction to the trailer has been full of impatience; even if Mike Flanagan's The Haunting of Hill House and Midnight Mass is pumping out one horror gem after the other, audiences can get enough. And I am p[articularlly looking forward to this one: Based on a nineties novel, it takes the teens in a haunted house trope and turns it on its head: these young people are terminally ill patients in a hospice, and instead of waiting to die, they form a club, telling each other's stories that will instead try to scare them to death. This quickly becomes a desperate plea, understandably so, not to die, to do everything in their power to stay alive. But, you know, that seems unlikely, and they make a pact that the first to die will contact the others. Here is the trailer:
THE GOOD NURSE on Netflix
Maybe watching Five days at Memorial wet my appetite. Still, I am looking forward to this tale of this angel of death: The trailer starts so innocuously, but Oscar-winners Eddie Redmayne and Jessica Chastain play, respectively, Charles Cullen, a nurse who is confirmed to have killed at least 29 people ( but probably many many more) and the nurse how helped to catch him. Watch the trailer here
Harriet Reed has it all; she is about to become famous as a writer ( very hard to do!) and is engaged to Edward Holbeck, the heir of a powerful family. Edward tries not to let his family interfere in their lives, but he can no longer hold them back, and Harriet refuses to see how he sees them. So when Edward's father, Robert, hands Harriet a tape of a book he's been working on, she is more than willing to listen.
But as she presses play, she learns this is no novel. It's a confession to a murder.
Harriet doesn't understand why he would let her listen to it, but she is convinced that it is a test she must pass. She can now destroy her father-in-law. But why put her in this position? Is it all a game for this family?
