A young woman picks up her husband from prison but a car accident will put them up against hostile locals and a monstrous legend of the woods.
I’ll start with the good news, it’s less. Intriguing story. Not very original, but makes an interesting bigfoot logline for a film. The ones who have worked hard on this film are the makeup department’s boys and girls, making everyone’s death gory and fun.
All the rest belong to the opposite of good news. Directing, acting, and script are at best mediocre. Shame to see a decent story be somewhat crashed by the very departments that were meant to elevate it. But the story survived the crash… only to get irreparably crippled at first and then face a slow, painful, and vicious death – worse than any creature can cause – by editing. It is by far one of the worst edited films made in modern history. Absolute shame.
At the peak of the Cold War, a man comes back from a mission to reunite with his family only to find out that their marriage has fallen apart and an eerie entity might be behind it.
Possession is the art of writing, directing, editing, and acting with no rules. No. Rules. It’s been at least a couple of decades since I last time watched it and the first time, not knowing how to properly “read” a film, I just found it bizarre and moved on with my life. Now that I know a bit more, I can tell you with certainty that no review or analysis can be adequate to make one understand with certainty how, what, or why everything is happening. In addition, there is no way to predict who will like it and who won’t. Personally, I couldn’t recommend this film more to horror / mystery / thriller fans but also cinephiles with whatever particular interest they have in films. If you decide to watch it, here’s what you sign up for:
Sam Neill’s and Isabelle Adjani’s best-ever performances. Theatrical, verbal, and non-verbal performances like anything they had delivered before and anything like they ever attempted again to this very day, almost 40 years later.
Andrzej Zulawski’s most intricate script. Where did Mark come back from? What is he so good at? What is happening to Anna? Why does Helen look like…(no spoilers)? Why does everyone speak and act in such a way? Are their responses somehow related to “the thing”? Where did that thing come from? The fear. The possession. The siren… Zulawski defied rules and conventions, making an unprecedented, satisfying, yet questionable horror, heavily censored in the US and banned in the UK.
Zulawski’s directing which haunted both Neill and Adjani, taking them years to shake off the extremely unpleasant experience they were put through. Reportedly, Adjani stated: “He [Zulawski] is a director that makes you sink into his world of darkness and his demons”. His lens is captivating and the photography mesmerising throughout all three acts.
Editing-wise, Possession becomes the Bible of when not to cut! The pace and rhythm are remarkable and as this is a performance-driven film, the editing is patient enough to move on to the next shot only after Neill and Adjani have given their 100% or more!
Think of Possession as The Last Tango in Paris (1972) meets Kramer vs Kramer (1979) meets The Thing (1982). And that’s what I’m going to leave you with. For readers who have watched it, if you want to, please read further.
I cannot even begin to imagine the reactions to the introduction of hentai pornography in a live-action film, in the early 80s, in the Western civilisation. If you know any European, (North or South) American, African or Australian films including hentai tentacles prior to Possession please let me know in the comments. I believe that awe and shock don’t even come close to describing the majority’s feelings. Personally, I think that the concoction of feelings and emotions throughout the film does not fall under one category. To the point where, possibly, you won’t even be able to explain how you feel or why you react the way you do to certain stimuli. A daring cinematic experience!
Once she thought that she had fulfilled her purpose and closed the loop, Tree finds herself waking up once more on her birthday… but nothing is the same.
Here’s an analogy for you. The first one was kinda scary and kinda funny. Now, this one is not scary and very funny. So, what do you think? Does that make it a better sequel? There is also an upgrade: The mixture of Groundhog Day (1993) and Back to the Future (1985). The good news is that there is no bad news. What you think you sign up for, it is exactly that. There is some suspense, the science is laughable but no one is trying to convince you otherwise, the editing adds to the film’s quality and creates the desired emotions, and everyone is playing their part as they should be. Speaking of, there is one surprise; a happy one…
Jessica Rothe! The film’s source of hilarity is also the cause of the heart-warming drama that will cut your breath short even for those tiny given moments. Director Christopher Landon does an excellent job directing the mother/daughter sequences so, congratulations are also in order for the actress Missy Yager.
Very enjoyable! It will definitely make you forget our miserable reality even for that hour and a half.
After an experiment kills millions of people, the living must get used to coexisting with the ghosts the dead left behind.
Right… I’m gonna cut to the chase. If I’ve said it once, I’ve said it a thousand times. I don’t judge the film but its intentions. So, if you decide to watch it, this is what you sign up for:
Weird guy no one likes except for the emo girl.
An American(!) school full of students where no one is obese.
In fact, an American(!) school full of (white) people where EVERYONE could as well be an underwear model.
Back to the emo/weird, they are investigators, come up with a theory that no one ever thought before or believes now, and fall in love.
In the end, you’ll never guess, they were right all along. Every other buffoon scientist wasted their degrees.
Music, which is not bad at all actually, accompanies every single sequence as the narrative and dialogue are beyond understanding.
Speaking of something decent, photography and set decoration are dark and compelling respectively.
To conclude, do you remember the 80s and 90s teenage horrors? Then forget about this! I don’t like doing reviews like this one and I have no idea what possessed me to watch it – Maybe the past, glorious days of Dermot Mulroney. Strictly under 15. Please provide ID before hitting “play”. You’ve been warned!
To everyone responsible for this film: Do not underestimate your audience’s mentality! It is immoral and, for that, you pay the price ==> Opening Weekend USA: $815 (Source: IMDb). Producers, accept the facts:
The US is a country of multiculturalism.
There are people who may not fit the profile to advertise fragrances but they are beautiful in their own way nonetheless.
Cast actors and actresses according to their skills, not your fantasy of the ideal appearance.
Having spent 10 years in prison, Capone gets to spend the last year of his life at his mansion, suffering from dementia and visions of a violent past.
A few people asked me to watch it and tell them what I think. Well, here it is…
There are four (4) different points that need to be looked at rather than overlooked: The most obvious is Tom Hardy who, no matter who he portrays, he portrays them with effortless artistry. So, don’t pick up the stones yet. My next point is the A-list cast who supports him equally well and poses no threat to the film whatsoever. Then, it’s the makeup. Now, here I can see that you are looking at the stones again. If I had started watching the film ten minutes into it, I would think it’s a zombie or vampire Capone. The problem escalates and climaxes with the fourth point which is the writing that is all over the place. It seems like it parodies Capone’s end, and I can understand how this can be somehow offensive even if it’s regarding a criminal like him.
Writer/editor/director Josh Trank thought it would be a good idea to combine approaches taken by David Lynch and Stanley Kubrick and portray the well-known Italian-American as if he’s walking between two worlds. In such light, a major issue becomes the main genre that officially characterises the film and, consequently, the viewers’ expectations. As someone who doesn’t know much about Capone’s last year, I didn’t see it as biographical as I didn’t see any crime either (that one shooting doesn’t count).
Trank was somehow lucky – even though that might be an inaccurate term. Should the film had a theatrical release, chances are that it would have suffered a similar or worse fate than his last film five years ago. My humble opinion is that he is a great independent director who faces a lot of issues when it comes to collaborating with major studios. Chronicle (2012) is a solid proof of that.
Four African American veterans return to Vietnam for the first time after the war ended to find their fallen brother and leader and claim something they consider rightfully theirs.
The opening sequence hits the nail! Right off the bat, you know exactly Spike Lee’s angle on this one. From Ali’s heroic statement to the historic footage that follows, Da 5 Bloods promises to be yet another Lee’s film way ahead of its time. But it isn’t. It most certainly is not. So what happened?
The story is quite an adventure. A sweet and sour and powerful one. The heroes are relatable and so is their background. Delroy Lindo, Clarke Peters, Norm Lewis, Isiah Whitlock Jr., and Jonathan Majors deliver powerful performances. Furthermore, Newton Thomas Sigel’s cinematography is gripping. So, again, what happened? I’ll start with the music. For a film that mocks Rambo, it surely shares a similar score that accompanies it throughout most of its moments, killing the emotion. Then, there are two major problems. The lesser problem is the editing which can make or break every film. And in this case, it is at least mediocre. So, what can be worse than mediocre editing? The script! The one too many weak subplots overshadow the main plot that has one too many gimmicks. The gold’s and body’s discovery, and the team arriving at the right place at the right time are just the tip of the iceberg. Before and after that, it just remains unreasonably and purposelessly convoluted. Shame really. Real shame. Should you decide to watch it, enjoy Lindo not holding back one bit! The best parts of the film.
A fifty-year-old list of numbers prophesying every major catastrophe that took place ever since will make a professor of astrophysics, and a single parent, to race against time to prevent the ones that are yet to happen.
Is pessimistic optimism a term? Does it make sense? It doesn’t, does it? Be it as it may, that’s the oxymoronic feeling you get out of Knowing. But first things first…
“Randomness vs Determinism”, from a philosophical and/or scientific point of view, will become the setup’s foundation, and your mind’s internal debate while watching the confrontation unfolding. One of my favourite Nicolas Cage movie from the noughties where, back then, I couldn’t find many flaws. Watching it now for a second time, eleven years later, I spotted certain plot holes and gimmicks but I didn’t let them get in the way. Yet, it answers all the questions it raises halfway there (not even in the end), and that feels a bit spoonfed for my taste. Regardless, Cage is the right man for the job, Rose Byrne delivers a great performance, the kids are surprisingly convincing, and Ben Mendelsohn, be it in a leading or supporting role, always nails it. Once again, it’s a shame that the film answers everything for you.
The man in the director’s chair is Alex Proyas, a director whose niche is dark fantasy/sci-fi. My personal bests are: The Crow (1994), Dark City (1998), and I, Robot (2004). Unfortunately, he has not been involved in many projects and some of them, I believe, were beneath him. I look forward to watching something of his ’90s style soon.
(Not)Fun fact: The film predicted the BP’s oil spill in the Mexican gulf the year after.
New Mexico, 1948: A switchboard operator detects a frequency like anything she has ever heard before, a radio producer broadcasts it, and myth, reality, and paranoia start blending into one.
Act I: The phenomenal antithesis between fast-talking actors and protracted shots. To be more specific, we are talking about up to 10-minute dolly and steady-cam shots. Great set-up and character introduction along with made-up experiments that get you into the low budget sci-fi mood and make you chuckle with their “accuracy”.
Act II: Past the slow-burn intro, the clash between reality and storytelling of loneliness becomes as vague as the editing techniques pacing it. It takes yet another heroine of life to wind the pace down and get you comfy with another story from the “fortress of solitude”, the plot point that leads to…
Act III: A resolution with no twist, yet a worthy ending. An ending that the two previous acts promised and did not mislead you about.
Meet Andrew Patterson! The writer/editor/producer/director behind The Vast of Night. The filmmaker who is known for… The Vast of Night. I had never heard the guy before. Well, guess what? IMDb hadn’t either. So, here’s the question: Who cares?! The man made this film almost on his own (using three different names). An honest tribute to The Day the Earth Stood Still (1951), The War of the Worlds (1953), and The Twilight Zone (1959) with suspenseful sequences accompanied by, among others, Cretan (Greek) music!
You watch the film, then you look at his picture and you can’t help but wonder: “Doesn’t he look like one of them alien conspiracy bloggers/vloggers”? Again, who cares?! Patterson is a talent! He got turned down by, I don’t know, 15 major film festivals? Few of them accepted him though and shared his vision. And I’m glad Amazon Studios did as well. I take my hat off to him. He’s a living, breathing, walking proof that all of us need to stick to our dream and keep it real. Andrew, cheers for that geezer!!! Much appreciated!
An extra, special bravo goes to Sierra Mccormick and Jake Horowitz for being true thespians and delivering Patterson’s dream.
Having seen her family in years, Krisha returns for Thanksgiving to a seemingly idyllic reunion that couldn’t be more fragile.
Krisha is perception through the legacy of the lens that Hitchcock left behind. Directing, editing, acting, music, and sound mixing split the screen in half and let you into Krisha’s internal world. You will omnisciently follow her into the house, “hack” her cerebral cortex and see and listen through her what lies beneath the surface. Feature debut for actor, writer, editor, and director Trey Edward Shults who successfully pitched his concept to Kickstarter and adapted his own homonymous short Krisha (2014). Ever since the wheels have been set in motion and It Comes at Night (2017) – https://kgpfilmreviews.com/2019/02/02/it-comes-at-night-2017-horror-mystery – and Waves (2019) (review to follow) have become exceptional additions to the American independent cinema.
In the first act, from the opening shot (be it past or future) the tone is set. The protracted shots and the sound mixing add extra depth to the already relatable story and characters. The second act’s gradual escalation will patiently prepare the ground for what’s coming, and that is none other than an Aronofsky-esque confrontation and act three’s denouement. Watch it and make up your own mind as to what eventually happened. You can’t choose your family, they say…
Fun fact: In both the short and feature version of Krisha, Shults gathered his family members (and a couple of actors) and shot the films in his mother’s house. Yes, most of the people you see on screen are actually related.
A New York City jeweler is constantly trying to find ways to pay off his debts while dealing with a number of personal issues.
Greed makes people take the worst decisions and then they wonder why their lives seem like a bottomless flush down the toilet. This is the story of Howard Ratner (Adam Sandler) who represents the kind of people who believe that two wrongs make a right. The journey of a man who refuses to settle to what he has and constantly going for what he could have had, losing always more and more until… well, you’ll have to watch it!
Sandler’s comeback to the big screen is remarkable – since 2015 all of his films have gone straight to Netflix. I believe that if the Academy could take him seriously, he would have been nominated but, don’t worry Adam, we don’t take the Academy seriously anymore ourselves. Sandler has survived in the film industry for just over three decades and he’s not going anywhere yet. Actor and rapper LaKeith Stanfield stands by his side but also opposes him, still revealing his diversity as an actor and I for one, look forward to seeing him in as many mainstream and/or alternative projects as possible. Last but not least, Julia Fox is as impressive as they come. Brilliant appearance on screen no matter how you look at it.
And now the Safdie Brothers… After a number of shorts, and the impressive Lenny Cooke (2013) and Heaven Knows What (2014), they brought to us Good Time (2017) which followed their style and made a suspenseful story but… these… repeated… Pattinson close-ups couldn’t be more distracting. Robert Pattinson is a great actor but it was just too much. So glad we didn’t get many Sandler close-ups. That said, you might find the music a bit distracting but once you familiarise yourselves with their Safdie style of filmmaking, it will make more sense. Congrats to everyone in front and behind the camera. 2 hours+ just flew by.