Steven Fine

Steven Fine’s filmography is a wild ride—no exaggeration. If you’re into movies that don’t just sit quietly in the corner, his name pops up on a few that’ll stick in your brain for a while. Like, take Love Shot (2018). It’s not your average crime drama; it’s got this artsy, offbeat vibe, blending romance and danger in a way that feels almost effortless. You get a hitman who’s supposed to do a job, but then he falls for a lounge singer, and suddenly everything’s complicated, messy, and totally gripping. It’s got that neon-lit, late-night feel that makes you want to chain-smoke and listen to old jazz, ya know? Then there’s The Killer (2023). This one? It’s colder, sharper—think less romance, more adrenaline. The tension just builds and builds, and Fine doesn’t pull any punches. The story follows a contract killer who starts to question his own code after a job goes sideways. There’s a kind of clinical precision to the whole thing, but it’s not soulless—it’s actually pretty hypnotic. Some scenes are so tense you can practically hear your own heartbeat in your ears. Windfall (2022) is a totally different beast. It’s like, you walk into what you think is a classic home invasion story, but then it flips itself inside out. Three characters stuck in a swanky house, all their secrets bubbling up—awkward, funny, and weirdly sad sometimes. The whole thing feels claustrophobic, but you can’t look away. Fine’s got a knack for making you squirm, laugh, and actually care about these flawed, desperate people.