A man’s family throws a surprise birthday party for him, not knowing that he suffers from a terminal illness.
This is an exception to my style of writing as, arguably, it has no horror elements. Yet, my aim was to explore a dark side of ours that is kept secret even from the closest to us people, even from ourselves. A horrific side that can be our scariest foe.
DISCLAIMER: This story contains strong language, and is intended for an older youth audience. Listener discretion is advised.
Based on my homonymous short script, Don’t You Shed A Tear.
Tonight, I’m releasing the second part of the interview with Michelle Satchwell. Michelle analyses Martyrs and its contribution to the horror genre but she also uses it as a reference for the role of women in torture horrors. Moreover, she talks about advertisements and gender roles in the 80s, and how females have been portrayed, could have been portrayed and how that has affected the present. Last but not least, she talks about the representation of ethnic minorities and non-binary people in the film industry and what potentially the future holds.
Feminism References Evolutionary Psychologists (no specific names), they focus on reproductive success in mate selection in humans.
Tuchman (1978) Symbolic annihilation (narrow range of roles for females).
Glascock (2001) Leading female characters (e.g. Lara Croft).
Bristol Fawcett Society (2008) Imbalance in media representation.
Ferguson (1983) Forever feminine; focusing on womens’ magazines and the cult of feminity. Women focus on “him, home and looking good (for him)”.
Johnson and Young (2002) Impact of advertising on children.
McRobbie and Garber (1976) Bedroom culture.
Heidensohn (1985) Social Control of women and crime.
Westwood (1999) Transgression and Gender. “Transgressive female roles that go beyond gendered expectations”.
Gauntlett (2008) The representation of gender roles in the media. “Do the traits of the characters challenge conventional masculinity?”
Julia Kristeva (1980) Powers of Horror: An essay on Abjection.
Freud (1905) Psychosexual stages of development (Pre-Oedpial stage).
Tonight, I’m interviewing Michelle Satchwell. Michelle is coming back on the show to talk about the role of women in horror films. Class, gender, and race will also be analysed as to how they have been portrayed over the decades and if and how nowadays things have changed. Michelle analyses classic female-led horror films through sociopolitical theories and practices, and sheds light on how psychology examines these filmic portrayals.
One of the most intriguing and atmospheric opening sequences I’ve seen in a while. The first act’s slow pace, music, and cinematography betray a feel-good 80s horror that promises not to disappoint. And it doesn’t (to a certain extent)!
Writer/director Anthony Scott Burns has done his homework on sleep, dreams, and nightmares and carefully and patiently unfolds a narrative that, if you haven’t read anything about the plot, will most definitely surprise you. Positively or not you are about to figure out for yourselves.
The dream sequences are the most vividly and terrifyingly surrealistic images since Silent Hill (2006) and The Cell (2000) – the only Jennifer Lopez film I have got to enjoy. Jungian psychology, Escher’s portrayal of illusion, and Clive Barker’s horrifying vision of the human psyche’s darkness, all blend into one, bringing to life nightmares that make us question the way our mind, consciously or not, interprets reason and the way we understand and explain our fears.
David Cronenberg has been a tremendous influence on the Canadian cinema and Burns, having specialised in horror, adds his own personality and vision to intrigue you, get and maintain your undivided attention. In the end, I must say that I did get confused and found myself remorselessly scratching my head, and even though I love proper WTF endings, Come True runs out of steam before you start rolling your eyes in disbelief. Shame because for the 2/3’s of the movie, I had nothing negative to say. I guess the denouement is the toughest part of the script.
P.S. Certainly, I am not the only one feeling like Riff came out of Hogwarts…
An alien vampire race is found in space and brought to a lab in London but, upon escaping, chaos and doom threaten to destroy our planet.
Ask anyone why they remember Lifeforce… And as much as I understand why, this is the reason why the film bombed! An alien sexbomb wreaking apocalyptic havoc in London sounds peculiar to say the least. The film didn’t even make half of its production cost back because a naked Mathilda May and her astonishing beauty stole the show and left everyone uninterested in its shallow science. BUT…
Lifeforce has become a classic and watching it 25 years later, I must say that it is case study of how to deconstruct a B-movie. I don’t think I’ve ever read more production details on a film such as this. What’s more, the vast majority of these details revolve around May’s backstage nudity or how the film’s failure showed during the early stages of principal photography.
Despite how my review sounds so far, especially in times like these, Lifeforce is the form of escapism that will truly entertain you (I mean, read the logline). Based on Colin Wilson’s novel, “The Space Vampires” and directed by Tobe Hooper, the film offers a lack of seriousness and superficiality that harms no one and, if anything, reminds us the cinematic, low-budget, sci-fi era that, once upon a time, was as believable as today’s advanced CGI. The practical effects, the make-up, the effort given not to be rated pornographic, the budget restrains, to name but a few, constitute it a very hard film to make. No words can describe the satisfaction you will get though while watching it. So, forget reality for a couple of hours…
Reason behind torture, or the lack thereof, offers a perspective on what you are watching. It provides explanation or gives none as to why people are suffering the way they do. In Martyrs, you only get to find out in the end and it’s just unthinkable. In Hellraiser (1987), Pinhead, and the rest of the crew, are sadistic, hellish creatures and live off the victims’ excruciating pain. In The Texas Chainsaw Massacre (1974), Leatherface and his family are a bunch of psychopathic killers. The problem presented here is that two innovative yet despicable scientists are behind everything that’s happening, and a couple of mindless humanoids that the film has the audacity to call “animals” commit further atrocities.
Personally, the reason here leaves me indifferent. What made me feel uncomfortable was its statement, or the way I perceived it anyway: She was looking for pain and that’s what she got. Maybe, I got it wrong but, ultimately, the film’s message is utterly confusing. Women are oppressed mostly by men but some women too? Men are disgusting beings? Shit happens? Together we are stronger than ever against the system that wants us subdued? Women are stronger together against… who?
Anyway, maybe Breeder has no message to deliver and I just missed on the “entertainment”. Maybe, you get a different vibe.
Tonight, I’m interviewing Dr. Neni Panourgia. Dr. Panourgia is Affiliated Faculty at the Program in Hellenic Studies. She is an anthropologist, Associate Professor at the Prison Education Program, Psychology Department, and Academic Adviser at the Justice in Education Initiative at Columbia University. Tonight, she is talking about the prison system in the US and how that has affected their current but also futuristic cinematic depiction. Without further ado, here’s the interview.
A group of friends gets lost in the Appalachian mountains, but gets found by an off-grid community that hunts them down.
Ahhhh… The clash between the world we are very slowly leaving behind and the brave new one we are entering in warp speed. Bridging those two worlds will be one of the most difficult tasks societies globally will have to deal with. Anyway…
Wrong Turn‘s producers decided, in a six-member “gang”, to represent as many minorities as possible. And as much as I endorse diversity and inclusion, when it’s for ticket sales or any other form of profit, I don’t. It’s called exploitation. Moving on from the casting choices concerns… one realises, right off the bat, when the alleged action and thrill kicks in, that the educated youth comes up with the dumbest questions, ideas, and ideologies ever existed while people of unknown origin and skills are after them in the middle of the unknown… nowhere. Ultimately, what most of them say and do is nothing but contradictory, something that renders them undecided in life or hypocrites at best.
And if you are somewhat confused with the messages about the old and the new world and their people… boy… wait until the film’s revelation! I’m not going to spoil it for you. See for yourselves the mess the script is leaving behind. Honestly, wait until the very end; the script’s direction is more lost than every city boy and girl has ever been on these mountains throughout the whole franchise. And since you’ve made it to the very end, watch at least the last scene, it’s awesome.
To my surprise, that script is by Alan B. McElroy, the writer behind the original Wrong Turn (2003), and it may be a reboot but has nothing to do or has nothing on the original one. Emmanouelle Chriqui and Eliza Dushku are irreplaceable.
A young religious nurse moves to a remote town to treat a housebound terminal patient, making her mission to save her soul.
Feature debut for writer/director Sophie Glass who, so far, directs only what she writes. Using a flashback in the opening sequence is not uncommon but Glass’ shots are, admittedly, impressive. The first half-hour is spent on Maud’s character development and her relationship with Amanda. The confrontation with Carol and Joy’s comment indicate how much we don’t know about Maud but should have suspected in the first place.
The moment she cannot pretend anymore… the moment she unleashes her true self… Glass’ lens pays tributes to Hitchcock and DePalma, while adding her own personal touch. She infiltrates Maud’s mind, dissects her martyrdom / schizophrenia, and restricts the narrative to only to her interpretation of signs. Consequently, this raises the question: How should I interpret those signs? Religion and mental health had been interchangeable terms for centuries, something that Glass manages to sink her teeth in, but mostly provoke, in less than an hour and a half.
Saint Maud is a phenomenal psychological horror that aims to shock you to your core and, Morfydd Clark, fully understanding Glass’ vision, goes the extra mile with a breathtaking performance. Jennifer Ehle plays also her part beautifully, resembling a younger Meryl Streep. Extra credits go to A24 that invested in the film, Ben Fordesman for the haunting cinematography, Mark Towns for perfectly controlling the pace and rhythm, Adam Janota Bzowski for his hair-raising soundtrack, and every member of the cast and crew who strived for perfection.
Saint Maud becomes a proud addition to the British horror genre where you don’t know what’s gonna happen until it happens. Turn off the lights, throw the phones away, and get ready to be blown away.
Tonight, I’m interviewing Aris Lanaridis. Aris is a film & media composer, sound designer and music producer. Tonight, he is talking about how music affects and enhances the suspense in horror films and what principles dictate how and what kind of music is used.
Mysterious entities, start taking over a group of friends through an obscure wireless signal that starts spreading rapidly all over the city.
I’ll be quick… Dark and promising opening sequence that once it gets you hooked it unhooks you with its formulaic narrative. The audience it addresses becomes clear straight away and is none other than… American pre-millennials. Just before the social media, androids and iPhones become our lives, this the generation that started carrying everywhere their cell phones with the ostentatious design.
In case you are wondering why I am doing a review now, it is because I’ve had that DVD on my shelf for the last 15 years and I never got to watch it. Now, I know why. Kiyoshi Kurosawa’s original script and Wes Craven’s adaptation were, allegedly, significantly altered by Ray Wright, something that made Craven walk out before production even started and renounced the film. Besides Wright, director Jim Sonzero did not do a good job either. Unfortunately, he treated his audience like they were mentally incapacitated and that alone is a reason to look down on the film. I’ll give you one example to get an idea. Kristen Bell is wearing make-up from beginning till end. No matter what happens, the make-up is intact. Shocking that there were two more (horrendous) instalments after that.
I’m not going to waste your time. To sum it up, the story could have been promising, the script is dull, the filmmaking techniques were outdated way before the film was made, and it is not Kristen Bell’s and Ian Somerhalder’s fault for being in it. They are really good actors. Watch it at your own risk.
In an attempt to heat up their relationship, a couple travels to the north of Sweden only to become a target and fight for their survival.
I have to thank my good friend Shiying for suggesting this one to me, and I’m so glad she did. The film’s strong suit is hands down, the narrative. The script is solid and its two protagonists, Nadja and David totally relatable. Its horror works in two levels: survival against the forces of nature and survival against the forces of unnatural (?) human evil. As the story unfolds, the difference, not that is really needed, is broken down for you so you can reconstruct it yourselves in the end. But, please, let me for argument’s sake humour you. When we distant ourselves from nature, it is not nature to blame if it does what it has been doing way before we stepped foot on this planet that we ended up looking down on as if we owned it. Then, there is the other threat; us. The detached from nature beings who developed, amongst other things, ideology, philosophy, and politics and used them against one another, as well as… nature.
Leaving my ecological concerns out of the equation, Red Dot steps on these characteristics of ours and very manipulatively deceives you. The twist is well designed and the editing, of course, selectively discloses what it requires for you to fall into the trap. The second part of the second act could be easily analysed in terms of how the restricted narrative led to the moment of truth, but that would ruin it for you so I’m not gonna do it. Watch it and decide for yourselves whether you saw it coming and how ‘smart’ or not you thought it was. My major objection, and that’s the only thing I’ll tell you, is that the third act’s harshness would be far more breathtaking if the verbosity levels were dropped, even to zero. But that’s just me.
Have a go at it! It’s well worth it. From beginning to end, Nanna Blondell and Anastasios Soulis lead the way with their incredible performances. What also stands out is Oscar-worthy cinematography. Before everything goes tits up, see how it starts at the petrol station. My initial thought was: ‘As if they don’t have enough on their plate, them two… it’s just what they needed’. And that’s what makes Nadja and David totally relatable, as I said in the beginning. You are going somewhere with your boyfriend/girlfriend and they show up. How would you react? What would you have done differently? How would you cope with the consequences? It is how every good thriller/horror starts…
The life of a serial killer through the major incidents that made him and the examination of his psychosynthesis.
Welcome to the world of a psychopathic murderer! Look at it through his eyes. See how it makes sense to him. Feel how he perceives it, in the scariest possible way, as you and I do. Welcome to the world that Lars von Trier and Matt Dillon built!
Watch back to back Trier’s The House That Jack Built and David Fincher’s Zodiac (2007). The former views the world through the nihilistic eyes of a killer who tries to make sense of our world’s identity, and the latter views it through our ‘existential’ eyes, which try to make sense of the killer’s identity. Regardless of the antithetical points of view and budget, both films’ theme is regarding a serial killer yet, they share no similarities. Not really, anyway. The striking differences in writing, acting, editing, and cinematography – all overseen by the director – are held responsible for creating films worlds apart and confuse film theorists (even more) in regard to ‘What is Cinema?’. Fincher’s meticulous mise-en-scène and precise cuts become an example to avoid for Trier who, in a mockumentary-style of filmmaking shakes his camera as much as he possibly can and cuts wherever it seems not right, ignoring continuity and paying tribute to Jean-Luc Godard’s Breathless (1960). Is there ‘right’ or ‘wrong’? No, there is not! The narrative always dictates how the story will unfold and in which way. And Trier’s filmmaking choices of saying the story the way he wants to create one of the most realistic serial killer films you have ever watched. Pay extra attention to the humorous side of the murders. Yes, there is a humorous side to it. Don’t judge it though, remember whose point of view this film is from. Even I smiled at Dillon’s reaction to the body’s melted face that had been dragged on the streets for miles. The film’s scariest parts though are not the murders themselves, but the justification of Jack’s actions and the sick and perverted way they somehow make sense.
My issue is not with the way the story unfolds, but with where it is heading. After an hour and a half of balanced nihilistic philosophy, deranged psychology, and monstrosities, Trier turns the film into a pseudo-sophisticated paradigm that, in my humble opinion, does not any more explain Jack’s actions, takes over the narrative, and expresses how Trier views art, politics, history, war, and anything that comes into his mind. Why do I think of that? Because I’m sure that Jack didn’t commit these murders creating a montage of Trier’s previous films in his head. I know he made a statement about, potentially, not directing another feature, but, in the name of art, he managed to lose the narrative’s focus and turned it into a confusing mess.
In Cannes, some people left the theatre and others gave it a six-minute standing ovation. Some condemned it on social media for its violence and point of view, and others praised it. See for yourselves how parts of ‘The Divine Comedy’ and ‘Faust’ work within the narrative and how the allegories and the history lessons work for you. Love it or loathe it, be it Trier’s last film or not, The House That Jack Built is a must-watch, and whatever I say, nothing will give justice to Matt Dillon’s remarkable performance. If none of the aforementioned sounds appealing or appalling enough, watch it just for Dillon!
A new drug on the streets, causing obscure and mystical effects, will make two paramedics from New Orleans reevaluate life.
The trippy, otherworldly, and oneiric opening sequence pins you down and gets your undivided attention. Steve (Anthony Mackie) and Dennis (Jamie Dornan) become immediately relatable from the get-go while you are trying to establish how is everything connected. As the incidents increase, the plot’s mystery and intricacy are accompanied by an equally dramatic subplot and both of them unfold together on Jimmy LaValle’s amazing soundtrack that expresses the characters’ psychosynthesis.
In my humble opinion though the film reaches its peak with the heartbreaking sequence of Steve’s dog, Hawking – honestly, I couldn’t breathe properly. Steve realises how the drug works and, from then on, it becomes too explanatory too fast for my taste, disillusioning too early an experience that stops raising questions anymore. Having said that, please, don’t let it discourage you. Watch it as it is a great low budget, indie sci-fi, and both Mackie and Dornan do a great job in front of the camera.
Behind the camera, writers/directors/producers/cinematographers/editors Justin Benson and Aaron Moorhead prove once more their unquestionable talent. From Resolution (2012) to Spring (2014), to The Endless (2017), to Synchronic, they constantly prove that filmmakers don’t need millions of dollars to bring to life something innovative; something that follows certain rules, breaks others, and, ultimately, still manages to be groundbreaking, didactic, and entertaining. Twenty years ago, Christopher Nolan started on small budgets and then the world became his oyster. As Steven Spielberg did thirty years before him. It seems that the filmmaking partners Benson and Moorhead, gradually, are given more and more funding. If they stick to their unique point of view – and don’t get sucked by Hollywood – they will keep performing cinematic miracles.
A secret agent, who works for a shadowy organisation that has the technology to control people, is sent on a mission to assassinate a high-profile target, but with unexpected consequences.
As a huge fan of the Canadian film school, I will tell you that Possessor does not disappoint. Films like that need to be highly praised, if anything, for their boldness. Writer/director Brandon Cronenberg is not to be compared with his father (David) as he has his his own distinct voice to narrate a story worth telling. The influences from eXistenZ (1999) and Videodrome (1983) might be visible but even these works are not parthenogeneric, and every generation “steals” from the generation before it, anyway. This has always been the case in art and science and that is the root of evolution (maybe of devolution too). My only “like his father” reference is the theme of “sex”. Brandon has taken over the torch of sexual exploration and mental darkness as projected through the lens, and I believe in future films of his we’ll see a lot more. The hallucination scenes are only the beginning…
Possessor‘s practical visual effects most definitely stand out, giving meaning to to the original purpose of visual effects before they became the means to overshadow a mediocre or bad narrative. Cronenberg’s high-concept, hi-tech, cinematic schizophrenia dictates what effects are needed and to what end, allegorically cautions the audience of the brain’s unknown vastness, and offers the thrill of its exploration by presenting the shock of the characters’ experiences through their own decisions.
Andrea Riseborough has proved time and time again that there is nothing she can’t do in front of the lens and mesmerises with her performance. Christopher Abbott, is a rising star and he’s terrific in everything he’s been in. Watch Sweet Virginia (2017), The Sinner (2017), and It Comes at Night (2017), if you don’t want to take my word for it – and that’s just within a year. As for Jennifer Jason Leigh, no introductions are needed as she’s been constantly offering her versatility to the cinema for over forty years now.
To conclude, Possessor is a must-watch that adds value to the Canadian film school and excites with its uniqueness and unpredictability. Regardless of the film schools though, it distinguishes itself from the traditional Hollywood narrative and blends the horror/sci-fi/thriller genres in a way you have not seen before. Pay attention to the opening sequence’s details. Gabrielle Graham, as a theatrical thespian, captivates with her performance and Cronenberg guides her character, Holly, to commit the poetic crime in a way that only Shakespeare would describe. From then on, it’s all uncharted territory.
During WWII, five American soldiers are sent to a French Chateau to make a stand, not expecting to encounter a sinister supernatural force.
The “thriller” and “war” genres are indicative from the get-go. Even though it gets quite brutal but also comedic straight after, their arrival at the French mansion brings a certain mystery with it. Admittedly, the introduction of the interior of the mansion is quite spooky and entertaining, decently maintaining the balance between “horror” and “comedy” and, consequently, the audience’s attention. The “Nazi shootout” sequence becomes the film’s climax with all of us deeply enjoying their vicious deaths. The “facing the ghosts” sequence is also enjoyable and should have given the film the ending it deserved. That could be a happy ending, depressing ending, jaw-dropping-twist ending… An ending nonetheless. But the filmmakers thought otherwise! Before I move to the ending, I’d like to say that the acting is brilliant and all actors deserve to be praised. Excellent job!
Writer/director Eric Bress comes back as a director for his second film after The Butterfly Effect (2004) and, up to the point that I mentioned, does a very decent job. His directing still remains intact after that but his writing, eventually, damages the rest of the film. I cannot tell you why without spoiling it for you so, should you decide to watch it, stop here and see for yourselves. You are more than welcome to come back to my review after you have watched it.
The ending is nonsensical because it tried to copy two films with similar, but successful for their narrative ending: The Thirteenth Floor (1999) and Dark City (1998). These fall under the jaw-dropping twists I mentioned earlier and, back then, gave the films the endings that everyone was talking about after watching them. In Ghosts of War this is most definitely not the case. It’s like Agent Smith (the ghosts) infiltrated the matrix and now Neo (Chris) would collaborate with the machines (the scientists) to restore the balance. It could not make less sense.
Other than nonsensical though, the ending is dangerous. What the filmmakers did here is dangerous. They associated the Nazis with ISIS. They “juxtaposed” their crimes as if that makes them the same. The Nazis and ISIS are not the same. I’m not going to give you a history lesson, but when the era is different, the culture is different, the history behind them is different, the motives are different, and then when one atrocity is related to war and the other (mostly) to terrorism… the comparison is not even wrong, it doesn’t exist. There is nothing to compare.
Filmmakers and studios need to be careful, nowadays. They hold responsibility for what they release and careers can be ruined in a blink of an eye.
Tonight, I’m interviewing Pantelis Tsibiskakis. Pantelis was born in Thessaloniki, Greece. He studied languages and art both in the UK and the US. Tonight, he is talking about one of his favourite poets, and admittedly mine too, Edgar Allan Poe, his writings, the adaptations, his personal tribulations, but also his legacy.
A high school student finds it really difficult to blend in, isolating himself from friends and family, while doing things that no one should be.
My Friend Dahmer invests in Jeff Dahmer’s character development while stealthily exposing the American society. School and home, the two environments that play a catalytic role in a kid’s physical and emotional growth become a case study for writer/director Marc Meyers who adapts John Backderf’s homonymous book. Shot in the same town where Dahmer was raised, the film leaves its mark for the spine-chilling realism it offers, covering the raw brutality of loneliness, the harshness of bullying, the fear of coming out – even to one self – and, ultimately, society’s success in… creating monsters.
Furthermore, Jamie Kirkpatrick’s editing patiently builds up the suspenseful narrative and Daniel Katz’s photography very accurately captures the 70s. As for the cast, Ross Lynch gets into character and nails his performance, as does the rest of the cast that very successfully supports his effort. I’d like to seize this opportunity and state something that should have been obvious but, unfortunately, it isn’t. Anne Heche is a wonderful and dynamic actress. Not only that, but she’s also a real-life heroine. I hope we get the chance to see her in more amazing roles like this one, as she still has so much more to offer to both the small and the silver screen.
Every joke made me sadder. Every prank made my heart skip a beat. Every time the parents didn’t care about Jeff’s isolation from everyone, but also himself, I felt like giving up. In the end though, you step back and everything becomes clear. What you have in front of you is all the ingredients you need to… “make a murderer”. I have not read the book, but I’d love to know what the author’s self-criticism would be. How does he describe himself looking back?
Share your feelings. Respect one another. Treat everyone the way you want to be treated.
P.S. In a way, it reminded me Michael Haneke’s Funny Games (1997/2007). Nothing to do with the content, but in regard to the absence of on-screen violence. I think it’s amazing.
After receiving news that their father was dying, two estranged kids gather at their parents’ remote farm to comfort him, but a sinister entity is lurking in the shadows for all of them.
From the opening sequence, the scent of the independent film forewarns that the absence of “formula” will fill you with dread of unknown origin and unknown for everyone involved consequences. Marin Ireland and Michael Abbott Jr. make an excellent duo in front of the camera and, Ireland especially, gives a breathtaking performance. Speaking of breathtaking, Xander Berkeley is absolutely terrifying! That role was him! He is a massively underrated actor so, I’m very glad he was afforded this opportunity.
As for the narrative, it is very restricted. The editing very meticulously unfolds the plot’s mysterious and horrifying elements, constantly making you wonder what the paranormal threat is and what does it want. Is it the devil? Is it a demon (with some vampire qualities)? Far fetched, I know, but pay attention to how it stands on the front door before asking for permission. Try and think why it has targeted the family and anyone coming in touch with them. If you want some answers you might find them at the phone call Louise is making to the priest – even though that will probably raise more questions.
Bryan Bertino, the man behind The Strangers (2008), and The Monster (2016), produces, writes and directs something between these two films; something between malevolent, external forces that subliminally manipulate our fears and the chaotic, internal abyss of the human mind that can prove more sinister than anything… non-human. I have never been a huge fan of jump scares, but Bertino uses them quite wisely here as there are other sequences that no music or sound effects are needed, just the visuals. Such sequences include (spoilers free), but are not limited to:
The carrot chopping.
The “hanged-in-the-barn” dolly out.
The priest at night.
The girl’s visit.
The nurse losing it.
The home arrival.
After everything is said and done, and the end credits start scrolling, among the rest of questions you will definitely have, ask yourselves this: Who is the dark and who’s the wicked?
A young, female WWII pilot boards on a fighter aircraft, but everything escalates when a creature infiltrates it.
The animation, in the beginning, is well-made but it shouldn’t be there. It has no place within the film and it gives away what is going to come next. I can’t guess its purpose for the life of me. There is a difference between foreshadowing an event and ruining the suspense. It’s like a self-mockery.
Straight after, like it started from the second act, the film’s visuals promise a horror that will raise more questions than answers but definitely, still, deserves the benefit of the doubt. There are two things that stand out positively immediately: Kit Fraser’s claustrophobic cinematography and Chloë Grace Moretz. Rumour has it that writer/director Roseanne Liang heavily rewrote Max Landis’ script (and removed him from the production) due to the latter having been accused of sexual misconducts. Regardless of the allegations, the heavy rewrites, kept the humongous plot holes, did nothing to favour the script, and heavily damaged the film with implausibility and charade. The best part of the film is from the moment the animation ends to the moment the gremlin gets inside the plane. From then on, everything goes to sh*t. Furthermore, Mahuia Bridgman-Cooper’s electronic, new-age, ambient, space, cyberpunk music is beautifully composed but, in my humble opinion, is way out of context in a WWII movie. But then, everything else is anyway so, I don’t even know why I bother.
Films such as Hidden Figures (2016) empower women and honestly portray human kind’s fortitude. The rest is just Hollywood’s moronic way to try and milk the cow and, thankfully, gets nada in the end. Moretz is an amazing actress, Liang seems to have a spark for innovation, and I for one, bet that I will see them both in something extraordinary soon again.
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.
When a mist out of nowhere brings with it monsters beyond anyone’s imagination, a diverse group of people in a supermarket must do whatever they can to protect themselves from the monsters or from each other.
Probably an unpopular opinion, but this is one of my favourite Stephen King adaptations. The film cuts right to it when at the same time develops the characters and brilliantly builds up the suspense. And when the mist covers the city and everyone’s trapped in the unknown… that is the calm before the storm. A calm that cuts your breath short only to take it entirely when the storm unleashes, gradually, what is beyond everyone’s imagination. Admittedly, the visual effects are not what they should have been but, please, see past their mediocrity.
The narrative is astonishing. It feels like the world’s schools of thought are gathered in a supermarket and argue realistically as you and I would have if we were stranded, surrounded by such extra-dimensional calamity. Every character in the store is relatable. Love them, loath them, side with them, or mock them… they constitute society as we know it. They form the mob, they become demagogy. See how the tide changes, how easily everyone shows their true colours when the sh*t hits the fan. Where would you stand – or think you would?
Frank Darabond, after masterfully adapting The Shawshank Redemption (1994) and The Green Mile (1999) adapts yet another Stephen King novel, delving into the human nature while toying with the idea of hellish dimensions and man playing God. Thomas Jane, Marcia Gay Harden, Laurie Holden, Andre Braugher, Toby Jones, William Sadler, Jeffrey DeMunn, Melissa McBride, and Alexa Davalos, most of them frequent Darabond collaborators, side with each other or go against one another and offer you an unforgettable thrill.
As I said, stick to the psychological side of it, turn the blind eye to the digital VFX, and place yourself in that supermarket. As for the end, I have written an article on soundtracks and powerful cinematic moments so, feel free to check it out only after watching the film as it gives away the one of a kind Greek-tragic-irony-like twist: http://theworldofapu.com/powerful-sequences-soundtracks/
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.
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!