A young woman, new to Los Angeles, ends up renting a place in a block of flats where the neighbours are not what they seem.
Not knowing anyone from the cast or crew or anything about the film itself, I gave it a shot just for that. I love indies, especially when I know nothing about them and feels like I should have. 1BR was meant to be one of them…
What starts as too coincidental, convenient, and questionable, such as the single, good looking, and kind neighbour, is followed by an interesting first plot point and a second act that promises something extremely sinister. That promise will get your undivided attention… but will almost instantly let you down as it doesn’t live up to it. Here’s the tricky part, though. If you wanted, that promise to be kept, it means that, one way or another, you are into some torture porn or similar so, this film is not for you. If, on the other hand, you were glad that that promise was not kept, it means that even the idea of the concept appalls you so, this film is not for you either. So, who is this film for then? Maybe, you can find a third category.
From where I stand, no half measure ever brought any decent results hence, no one likes them. You either go for it or you don’t. Any reservations on the script will be enormously amplified on the screen. To put it plainly, 1BR is not daring. It teases you with something that, eventually, does not offer. Nicole Brydon Bloom’s acting is more than decent but David Marmor’s script and directing fall into the half measure category. Two, respectively, “full measure” films that didn’t hold back were: The Invitation (2015) – review to follow, and Martyrs (2008): https://kgpfilmreviews.com/2020/11/24/martyrs-2008-horror/. While it could have been The Invitation meets Martyrs, it isn’t. Too many variables should have been different for that to happen.
We can’t really have it both ways in life, and the same applies to films. What also applies to both is that we are free to choose but not free of the consequences.
Tonight, I’m interviewing Michelle Satchwell. Michelle, after shedding some new light on why kids are portrayed in certain ways in horror films, is coming back to talk about asylums and their portrayal in favourite, or not so favourite, horrors. The interview takes an interesting turn as she is pointing out that reality can be scarier than fiction as none of us is as free as we think we are. Regardless, the origins of asylums as the, arguably, scariest places a horror film can take place at is explained and so is the believability behind their projection.
Mental Health Act 1983 where people can be sectioned as “danger to self or others”.
Marie Jahoda (1958) “Ideal Mental Health” including six criteria; autonomy, self-actualisation, positive attitude to self, resistance to stress, accurate perception of reality, and environmental mastery.
Ethical guidelines originated from Nuremberg code (1947), later developed by the American Psychiatric Association (APA) and the British Psychological Society (BPS).
R.D Laing (1965) created a “safe heaven” for patients with Schizophrenia. This has been made into a film; Mad To Be Normal (2017).
Rosenhan (1973) carried out three experiments titled; ‘Insane in sane places’ of pseudo patients being diagnosed with Schizophrenia.
Both Laing and Rosenhan were part of the 1970s anti-psychiatry movement.
Thomas Szasz questions how mental health is defined and how it’s been ‘constructed’. In 1961, this was published as the “Myth of Mental Illness”. Then in 2011, released the “Myth of Mental Illness”, Revised 50 years later.
Valentine Douglas (2016) The CIA as organised crime. This covers “Project MK Ultra”.
Weindling (2016) looked at victims and survivors of Nazi human experiments.
International Classification of Diseases (ICD-11) was published in May 2019 and is used by the WHO in the UK and Europe. The Diagnostic Statistical Manual (DSM 5) published in May 2013 is used by the APA in America.
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on soundtracks that have played a catalytic role in constructing powerful cinematic sequences. Some are well known, some not so much, and others, potentially unnoticeable to the vast majority.
The unexpected arrival of a young man’s sister in his mansion will make both siblings express feelings they have been suppressing for years.
I don’t know how many times I’ve heard people mistakenly calling experimental films or films with nontraditional narrative “artistic” as if traditional, formulaic narrative, namely Hollywood’s, isn’t. Narrative is narrative regardless of what you think of it or call it. Either way, it can be both effective and ineffective. And what might be ineffective for you can be really effective for someone else. Objectivity finds no application in art.
Welcome the Stranger follows, definitely, a nontraditional narrative where nothing is directly explicated (spoon-fed) but rather subliminally implied. In such storytelling, the director, who most of the times also happens to be the writer, is meant to explain their vision to the actors/actresses who, in their turn, are meant to transgress that vision and be part of something that will be, ultimately, interpreted in numerous ways. For example, see what happens at 00:31:50. Is there an explanation given? Is there an explanation needed?
Producer/writer/director Justin Kelly has created a performance-driven mystery/drama where the drama is caused by an unknown or unimportant to the viewer source hence, the mystery and the lack of our understanding regarding their paranoid acting. Abbey Lee, Caleb Landry Jones, and (also producer) Riley Keough play their parts extremely well, giving justice to Kelly’s vision and offering uneasy entertainment for the audience.
Trivial over-dramatization, unnoticed importance, involuntary(?) incestuous attraction, reality’s disillusionment, and oneiric time/space convolution are nothing but a few elements that, combined, they pay tribute to David Lynch’s legacy in the 21st century, and synthesise a nano fragment of our minds’ filmic projection.
P.S. Abbey Lee and Riley Keough appeared in Mad Max: Road Fury (2015), and Caleb Landry Jones and Abbey Lee appeared the same year in To the Night (2018).
As part of an initiation, a bride, on her wedding night, needs to play a sinister family tradition game.
The line between horror and comedy hangs in the balance. How much of each is needed to scare people but also make them laugh? But then, what kind of humour does one use against the gore? And what if it is psychological? These questions, and more, have no definite answers. Script, directing, editing, and acting, all need to work like a Swiss watch to evoke both feelings. I know that this applies for every genre but the emotions here are antithetical and, I guess, that makes, as I said, the balance is delicate.
Everyone plays their part brilliantly. Other than Samara Weaving who deserves every win for playing Grace, Nicky Guadagni, as the deranged aunt Helene is bloody hilarious. The script is tight, maintaining that “delicacy”, and the duo Matt Bettinelli-Olpin and Tyler Gillett do an incredible job behind the camera. Other than the upcoming Scream (2022) they are also responsible for the “10/31/98” V/H/S (2012) segment and Southbound (2015) which I will watch again and review it straight away.
Very interestingly, Weaving is playing the reversal of her role in The Babysitter (2017). Now, that I’ve seen her in both sides of the fence, as prayer and prey respectively, I can say with certainty that, other than impressive woman, she is an impressive actress as well and she’s been in two of my favourite horror/comedies that I’ve seen in recent years. She’ll be an even more sought-after actress as the years pass by.
Bloody gore, naive fatalities, fancy costumes, hilarious profanity, surrealistic family complexities, and limitless buffoonery will keep you entertained for an hour and a half, offering an escape from what you see on the news every day.
The once-infected world by a disease that was turning people into zombies has now been cured, but those who had turned face now society’s discrimination and wrath for all the things they did.
Reinstatement, remorse, forgiveness, redemption, tolerance, stigmatisation, and family are the exceptional qualities that separate The Cured from the mainstream Hollywood post-apocalyptic zombie outbreak calamity.
I have to thank my mate Gary for reminding me of this one, commenting on #Alive (2020) https://kgpfilmreviews.com/2020/12/12/alive-2020-action-drama-horror/. Acting as a social commentary and fragile post-postapocaliptic metaphor for the real world we currently live in, without getting into historical or sociological analyses, The Cured is indirectly associated with the Irish modern history but also the whole world’s rehabilitation system and the stigma one carries trying to reinstate.
Writer/director David Freyne has done a brilliant job behind the camera, and Sam Keeley gives the justice broken Senan deserves. Actor/producer Elliot Page has always been amazing in everything he’s been in and his acting is a force to be reckoned with.
A letter from his estranged father requesting a visit will make a young man go to his remote cabin in an attempt to reconnect with him.
I always find it intriguing how does one pitch films like this. Right off the bat, Come to Daddy gets you acquainted with two profound quotes:
“The sins of the father are to be laid upon the children” – William Shakespeare
“There is no one else like my daddy” – Beyoncé
Go figure… Then, you get to experience Norval (Elijah Wood) with an atrocious haircut, sporting a pedo-tash, paying a visit to his… eccentric, and profoundly disturbed dad, Gordon (Stephen Mchattie). I’ll tell you this, both of them are awkward, their dialogues are awkward, their father/son relationship is awkward, the sheriff is awkward, the coroner is awkward, everyone is awkward, and the whole film is awkward… until the twist. Then it gets even more awkward.
Throughout the film, I didn’t know whether be ready to get scared or laugh or… And while thinking about it, Dandy shows up pooing, getting off the crapper, and picking up a brutal fight with goofy Norval, unrolling the toilet paper stuck in his bumhole while at it – admittedly, the most enjoyable scene. Eventually, I didn’t get scared but I did laugh out loud with the occasional, inventive, and anything but inspirational, surrealistic tragicomedy.
Inspired by Ant Timpson’s dad’s passing, the story is a mixed bag that, in the end, you’ll just either turn it off and go to bed, say “that was fun!”, or facepalm sighing and wondering why you did that to yourselves. Personally, I like unpredictability, absurdity, and mixed genres. I just prefer it when there is something in the end to take away.
The reason I decided to watch it was the leading duo. Mchattie and Wood are very versatile actors and I have enjoyed them in most films they’ve been in. Wood, having been in numerous Hollywood films in the past, has left most of it behind him and has started focusing on roles like Norman. Wilfred (2011-2014) and I Don’t Feel at Home in this World Anymore (2017) are two previous examples of the kind of people he portrays with great success.
Anyway, Come to Daddy is highly recommended if you are really confused with your life, feeling lost, or having daddy issues.
It’s Christmas Eve, and five interwoven stories reveal the dark side of Christmas.
A Viking-looking Santa who is about to face something evil, a radio host who wants to lift your spirits, a student film crew that investigates a violent ritual school crime, a family who just wants a Christmas tree, and an Anti-Christmas spirit that is released, chasing wicked people.
Very promising and original opening sequence that will most definitely get your undivided attention. Every story unfolding is a treat and, despite their flaws, they are still dark, eerie, and enjoyable for, admittedly, mostly millennial horror fans but not exclusively. Surely not for the whole family, each and every one of them, twists the meaning of Christmas and explores the darkness within us in days that our light is meant to shine. The ending is a real twist that, unfortunately, is no fantasy and our world has seen similar in numerous variations. For the avoidance of spoilers, I cannot elaborate further and, personally, I feel like I shouldn’t do it anyway.
The stories unfold in the fictional town of Bailey Downs. The same town where the Ginger Snaps franchise takes place but also, partially, Orphan Black (2013-2017). Filmmakers behind both projects collaborated for this one.
Last Christmas film review for this year! Stay safe and Merry Christmas!
On Christmas Eve, Ebenezer Scrooge gets three visits from spirits that show him the error of his ways.
Unarguably, the darkest adaptation of Charles Dickens’ classic Christmas tale to date. Right off the bat, poisonous truths are coming out of Ebenezer’s mouth, almost impossible to argue with. Why be nice to each other only once a year, indeed… But its darkness doesn’t solely lie in the writing’s truths. It lies in the acting, and above all, the haunting photography. A constant darkness from the opening sequence to the end credits. Keep these elements in mind for what comes next.
The Ghost of Christmas Past takes him on a journey that leaves some… eerie details to the imagination. Excellent storytelling that will get your undivided attention in an attempt to process if the story you’ve read and watched repeatedly in the past is currently taking the direction you suspect it does. And it does, indeed.
The Ghost of Christmas Present shows him the consequences of that past; a past that seems ostensibly irredeemable. It picks on nineteenth century’s socioeconomic problems that could not be a better fit for the present day (massively pounding on capitalism!). The emphasis on that family’s love and what he had been deprived of, and consequently never knew it existed, smoothly shape Ebenezer to what the spirits hope he will become.
The Ghost of Christmas Future is meant to be the real treat; the relentless. But here, unfortunately, the TV adaptation starts losing ground and the role of the Ghost of Christmas Future is cut short. The mini-series becomes too explanatory for an audience that is by now clear is not kids. Thus, certain explanations are not needed, but they are given nonetheless. Then, everything happens too fast as if the filmmakers suddenly realised that the mini-series’ runtime is coming to an end and they must hurry. But then, more explanations are given, forgetting the “show, don’t tell” rule. Furthermore, in the end, the story feels incomplete as the denouement does not address certain issues, i.e., “redemption” from his nephew or the coal miners’ families.
Guy Pearce, Andy Serkis, Stephen Graham, Jason Flemyng, Johnny Harris, and Charlotte Riley are but a few of Britain’s finest actors who perform brilliantly in front of the camera. Joe Alwyn and Vinette Robinson make excellent additions to that cast and play a significant role to the story’s development. Behind the camera. Steven Night, Ridley Scott, and Tom Hardy, among others, put on the producer’s hat and – in my humble opinion – must have done some serious pitching to the BBC to take on such distribution. I guess, if you are about to adapt a classic that has been adapted numerous times before, you may as well do it in a way that it has never been done before.
Three lifelong friends who are about to spend their last Christmas together, get tickets to a party that will put their lives into perspective.
Vulgar language, anecdotal situations, surreal characters… anything you can expect from a Rogen/Goldberg production. Co-writer/director Jonathan Levine teams up again Seth Rogen and Joseph Gordon-Levitt, after 50/50 (2011) and with the amazing Anthony Mackie joining the crew… the fun has started already. On a second thought, more or less, everyone has worked with someone else more than once in the past. And, of course, James Franco pops up! Oh, did I mention Michael Shannon, Lizzy Caplan, and Mindy Kaling? This is quite the gang.
This is a trippy journey that, in its vast majority, it is very much to the bone. References to Die Hard (1988), Home Alone (1990) and Charles Dickens’ “A Christmas Carol”, make it a great buddy, Christmas film, especially, in times like these. Ultimately, it’s very predictable but you wouldn’t expect anything else from a Christmas movie, even an R-rated one. In all honesty, the church sequence is hilarious and the confession moment at Caplan’s front door is quite funny. Then, the amount of improvisation by almost everyone is also admirable.
Love it or loathe it, that is the kind of comedy you sign up for. Should you decide to watch it, just go along. We all deserve a laugh these days.