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    Mike Leigh

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    “Given the choice of Hollywood or poking steel pins in my eyes, I’d prefer steel pins.”

    Caddo Lake (2024)

    An 8-year-old girl’s disappearance starts linking to past deaths and missing people, revealing things no one could imagine.

    Mind-bending, jaw-dropping, and hair-raising. Caddo Lake will knock you out of the park! What starts as a mysterious disappearance that ostensibly leads to kidnapping ends up as a beyond-understanding reality that no one could have ever possibly known. Logan George and Celine Held wrote and directed this brilliant film that lingers way after the end credits stop scrolling down. The film’s pace and rhythm are perfect, and the way the events connect shows how much effort they put in the cutting room to stitch them all up (especially George) and present this coherent result. And making it look and sound coherent with such a script is a Herculean task. Probably one of the very few occasions where the director is also the editor, and the result is astonishing.

    This is a spoiler-free review, so I can’t make comparisons with the series that knocked our socks out a few years ago. But you’ll get it when you watch it and see how George and Held succeeded in doing the same in a less-than-two-hour film. What you want to happen, what will happen, and when you want it to happen and when it will happen will skyrocket the suspense to the extreme. Of course, the story’s believability would not be possible if the actors didn’t do their part. Dylan O’Brien, Eliza Scanlen, Lauren Ambrose, Sam Hennings, Dianna Hopper, and Eric Lange believe in their vision and react to specific stimuli in a way that probably you and I would, something that increases the realism behind the paranoia.

    George and Held directed episodes of the also M. Night Shyamalan-produced Servant (2019 – 2023), an extremely well-made series – and Ambrose was the lead. They have also directed episodes of Dark Matter (2024). What I want to say is that they are both accustomed to the mysterious element, the fringe, and the dark, and their work keeps getting better and better. I, for one, can’t wait for their next film.

    P.S. Speaking of duos who do great, let’s hope filmmaking duo Justin Benson and Aaron Moorhead do something extraordinary soon.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Companion (2025)

    What was meant to be a relaxing weekend at a billionaire’s lakeside house turns into a nightmare for a group of friends full of secrets.

    Thoroughly enjoyable, with a lot of food for thought. Marrying comedy and horror has never been easy for either the writer, director, or editor. As if making an audience laugh or scaring them is not hard enough, how much you’ll make them laugh, how much you’ll scare them and how you’ll combine these two extremes back to back is beyond understanding. This is what writer/director Drew Hancock has managed to achieve, though: to scare you and then make you laugh and the opposite — sequence after sequence after sequence. Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, Rupert Friend, and Marc Menchaca (special guest) share Hancock’s dream and deliver funny performances while going berserk when needed.

    The producers behind Barbarian (2022): https://kaygazpro.com/barbarian-2022-horror-thriller/ and Hancock create a horror/comedy that fits perfectly into today’s society. In a kinda woke manner (Barbarian was kinda woke, too), it satirises women’s position in the US during the 50s and 60s (check Iris’ outfit and hairstyle), patriarchy and whatever is left of it today, our relationship with AI and the AI girlfriends/boyfriends, and the way today’s generation handles situations nowadays. The result pays off. Think of Mary Shelley’s “Frankenstein” and the human hybris in a modern and satiric version. If you are looking for a less satirical and more philosophical way to examine the relationship between AI, robotics and society, watch Alex Garland’s Ex Machina (2014).

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Censorship in Film

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    Is censorship in film ever justified? From the Hays Code to modern-day digital platforms, the debate continues. What should be censored, why and by whom?

    Rogue Agent (2022)

    A conman who pretends to be an IM5 agent and ruins women’s lives encounters one who makes it her life’s purpose to bring him down.

    Shocking, gripping, utterly “life stranger than fiction.” Directors Declan Lawn and Adam Patterson bring to your screen the true story of conman Robert Freegard (James Norton), who ultimately destroyed the lives of many women and some men, and the means it took for a woman, Alice Archer (Gemma Arterton), to put him behind bars. It is an extraordinary story, given in a compelling way. Norton and Arterton make a great on-screen couple, and then rivals and the pace and rhythm of the film are perfectly balanced.

    The drama, the thrill, the suspense, and the agony will keep you on the edge of your seats, constantly wanting Archer to bring him down. But it won’t be easy, and it won’t be pleasant. For almost two hours, you will stay engaged and will root for Archer, watching Freegard find ways to get away and keep ruining lives. Upon watching the film, if you want to know what has happened to him, read about the Freegard case or watch Netflix’s true crime docuseries on him called The Puppet Master: Hunting the Ultimate Conman (2022).

    Loneliness, mental illness, trauma and other personal and professional reasons can make us lose sight of reality, weaken us, ruin us, you name it. Unfortunately, psychopaths can take advantage of that and kick us or stomp us while we are down. If that ever happens, let’s hope our people are there to protect us or be the people to protect the ones in need.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Salting the Battlefield (2014)

    Having fled Turks & Caicos, Johnny Worricker returns to the UK to face MI5 and the Prime Minister and deal with the accusations against him.

    A great denouement to a long and eventful journey. After Page Eight (2011): https://kaygazpro.com/page-eight-2011/ and Turks & Caicos (2014): https://kaygazpro.com/turks-caicos-2014/, Salting the Battlefield concludes Worricker’s journey, bringing back home, facing the consequences of his actions. Of course, it’s a double-edged sword, as the government also needs to face the consequences of its own decisions. Writer/director David Hare and Billy Nigh, Helena Bonham Carter, Rupert Graves, Saskia Reeves, Judy Davis, Ewen Bremner, Felicity Jones, and Ralph Fiennes return to action to deal with unfinished business and put an end to this odyssey that has spiralled out of control.

    Salting the Battlefield turns into a manhunt. From numerous cities in Germany and back to London, Worricker (Nigh) and Margot (Carter) run from the government until they come up with a plan that will benefit them as much as it would benefit the “enemy.” As expected, that proves to be more challenging than it sounds – especially when different government departments have various agendas. Pay attention to the ending. Pay attention to how this whole case concluded and ask yourselves what you make out of it.

    This is the third and last chapter of Worricker’s life, and I, for one, am glad I watched it back to back. British TV at its best!

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Turks & Caicos (2014)

    Having fled the UK, Johnny Worricker lives now in the Caribbean, but his resting days end when he meets a CIA agent and shadowy businessmen.

    Great sequel that delivers its promises. Page Eight (2011): https://kaygazpro.com/page-eight-2011/ instigated a spy/drama trilogy with a great cast that only got better. Page Eight highlighted the US concentration camps, emphasising information that marries fact and fiction and engaging the audience with the way that information is presented.

    Turks & Caicos sheds a lot more light. In a fictional way, it “explains” how these concentration camps were built. While it is a film, and all characters and particular information are fictional… it actually makes a lot of sense. You will find yourselves wondering if things could be that way. Is it where the US taxes went? Is it that kind of people that get people’s money? How much is it that we don’t know and we should?

    Turks & Caicos offers a lot of food for thought. Writer/director David Hare creates an equally thought-provoking sequel that astonishes with its simplicity. Its wonderful cast: Billy Nighy, Christopher Walken, Helena Bonham Carter, Winona Ryder, Rupert Graves, Ewen Bremmer, Dylan Baker, James Naughton, Zach Grenier, and Ralph Fiennes do an excellent job and transfer you to a world that will make you think long and hard about politics, entrepreneurship, the murky or even muddy relationship between the two.

    P.S. It is brilliant to read that all the actors did nothing but praise one another for their collaboration.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Page Eight (2011)

    When the head of MI5 dies, Johnny Worricker, a data analyst, discovers a political scandal of international proportions.

    Excellent TV spy drama with brilliant performances. Page Eight is the first part of the trilogy. I’ll keep the reviews short as they only intend to pique your interest, just in case you haven’t watched them – and if you have, you can always watch them again.

    Page Eight uncovers a scandal about the US concentration camps. What makes the film more relatable is that you know these camps existed (maybe still do?), and you know why they were there, but you don’t know much about them. Upon looking at the undisputed data, Worricker (Billy Nigh) discovers the British government’s involvement and becomes a target himself. In the meantime, his next-door neighbour (Rachel Weisz) has lost her pacifist brother in Palestine – also a British national – and he feels obliged to help her out uncover the truth. Writer/director David Hare blends the two cases naturally, creating a European spy drama that cannot leave you uninvolved. How everything evolves and what eventually happens in the end is up for you to watch and enjoy! Billy Nigh, Rachel Weisz, Michael Gambon, Judy Davis, Saskia Reeves, Ewen Bremner, Felicity Jones, Ralph Fiennes, and Alice Krige do a remarkable job. Highly recommended!

    In a cinematic way, Page Eight brings to light dark pages of history that, on the one hand, make your blood boil. On the other hand, the film brings hope that there are people out there who won’t stop looking for and exposing the truth, regardless of the personal or professional cost. The film also sets the foundation for what is about to happen next: another series of business and financial revelations that also occur in real life while people starve or struggle to pay their taxes.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Pauline Kael

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    “Hollywood is the only place where you can die of encouragement.”

    Milk & Serial (2024)

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    A surprise birthday prank ends up going terribly wrong.

    An hour and $800 worth of your time. Writer/director/actor Curry Barker manages to create a non-linear found-footage horror about what’s considered normal, funny, psychopathy and the indistinguishable lines in between. Surely, the budget shows throughout every sequence, and the soundtrack shouldn’t be part of the film (found footage, remember?), but Barker makes a point about the American norms, youth and society.

    While the execution is expectedly problematic, the script is fun, and an hour of your life will fly by. The horrifying thing is, though, that people like Milk exist and, more often than not, they are our next-door neighbours.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    The Imitation Game (2014)

    Hired by the British government, Alan Turing and a team of mathematicians race against time, trying to crack the “Enigma” code during WWII.

    Full of emotion, passion, suspense, and outstanding performances! Writers Graham Moore and Andrew Hodges and director Morten Tyldum have made the nearly perfect film. Of course, that would not have been possible without the excellent main cast: Benedict Cumberbatch, Keira Knightley, Matthew Goode, Allen Leech, Rory Kinnear, Matthew Beard, Charles Dance and Mark Strong. Writing, directing, photography, editing and acting synthesise a marvellous film that will make you think long and hard while making you bite your nails and tear your eyes.

    The Imitation Game achieves the perfect balance between science and artistic intervention. It informs the audience of the horrific events of WWII and the science behind what the team of codebreakers are trying to achieve and emotionally engages the viewer with the appalling treatment of Alan Turing, a lonely, eccentric hero who just happened to have a different sexual orientation than most. Cumberbatch deserves every praise under the sun as his performance is immaculate!

    Over a decade later, the film remains unaffected by time and still cuts my breath like it did back then. A lot has changed in the UK since Turing’s era. For some time now, it has led the way in diversity and inclusion. It has nothing to do with those laws that prohibited homosexuality or marginalised other minorities, and the Royal family has apologised for what the government did to him back then.

    Furthermore, the film poses an atrocious dilemma that, while it emphasises it, it cannot provide the appropriate depth as it would then be a different film. I am talking about being in the position of deciding who lives and who dies – the criteria that distinguish the strategic move from the human life itself. Imagine being in the position of either saving or condemning people. It is unclear what the effects of such decisions are. Does one feel like hope or a harbinger of doom? It is a dilemma beyond comprehension; let’s hope we never have to deal with it ever again.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

    Stay safe!

    She Said (2022)

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    Two New York Times journalists investigate the allegations against Harvey Weinstein.

    Beautiful and hair-raising at the same time. Films like She Said sometimes confuse you as to where to start. The acting? The directing? The editing? The script? The story? Let’s start with the latter. The story is shocking and utterly disgusting. What Harvey Weinstein had been doing for all those years was inhumane and monstrous. That applies to the rest of the men doing it, then and now. On the other hand, what Jodi Kantor and Megan Twohey did restores the faith in humanity. That applies to the rest of the people doing it, then and now. Rebecca Lenkiewicz’s script’s non-linear narrative pulls that audience in and, engagingly, keeps them on the edge of their seats. The back and forth maintains the suspense, perpetuates it and gives a complete picture of what was happening and when, not when you want but when you need to. The credits here also go to the editor, Hansjörg Weißbrich!

    In front of the camera, Zoe Kazan, Carey Mulligan, Patricia Clarkson, Andre Braugher (his last film – RIP), Jennifer Ehle, Ashley Judd, and the rest of the cast move the audience deeply with their outstanding performances, making you root for them to get to the bottom of it even if you know already what will eventually happen. Director Maria Schrader (always with Weißbrich by her side) made a daring, beautiful film where most elements work perfectly. She is a tremendous director, and She Said is not a one-off. Her also daring miniseries Unorthodox (2020): https://kaygazpro.com/unorthodox-2020-drama/, which also captivates and cuts the viewer’s breath short with its honesty, is the proof you need that her lens is not holding any punches and produces the raw intended result.

    You may or may not have heard the reason why Brad Pitt was the producer of this film and Women Talking (2022): https://kaygazpro.com/women-talking-2022-drama/ (other than the performances, I had nothing good to say about that one), also made the same year. Let’s trust Justice on that one. What bothered me about She Said was that people didn’t go to the cinema to watch it. At the premiere, we all thought it would raise significant awareness, something that did not happen, and the film flopped. It’s troubling. It really is. Yet, films like She Said inspire all of us who don’t have that kind of reach to keep on writing, using our honest voice for whoever is listening or reading. So, people like Jodi Kantor and Megan Twohey are people we look up to.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Raymond Chandler

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    “The challenge of screenwriting is to say much in little and then take half of that little out and still preserve an effect of leisure and natural movement.”

    All About My Mother (1999)

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    Once upon a time, in an Argentine theatre, the power went out, and they had to postpone the show. The actress Lola Membrives announced it to the audience and promised them that if they stayed, they would hear her life story (everyone stayed). This story is the basis for the monologue of Argado.

    Daddy’s Head (2024)

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    A boy loses his father in a tragic accident, and he and his stepmother find themselves against a horrifying creature.

    Great premise and atmosphere, but with an unsatisfying ending. Daddy’s Head is brilliantly made. Directing, photography, soundtrack, editing, acting… they all work like a Swiss watch. However, what was left outside the equation is yet another main ingredient: the script. Two-thirds of it works great! The setup and the confrontation (Act I and II) lay the foundation for an immense indie folk horror that, from time to time, cuts your breath. And when it doesn’t, it delves into the drama. Writer/director Benjamin Barfoot guides really well the main actors, Julia Brown, Rupert Turnbull and Nathaniel Martello-White, who do a great job as struggling people who try to understand what is happening while coping with loss and despair. So, everything works. Until that third part, the resolution (Act III).

    The ending is arguably the most challenging part of the film. The way to climax what you have built for almost a couple of hours is integral. It is what the audience expects to see and think to themselves that what they have witnessed, endured, or experienced until the end makes sense, creating the WOW effect! Especially in horror. Open endings can cause that, too. One of the latest profound examples is Red Rooms (2023): https://kaygazpro.com/red-rooms-2023/. Open endings can make you think of that ending long after the credits roll down.

    Unfortunately, Daddy’s Head‘s ending is unfulfilling, making one wonder about some of the elements of the previous acts. What was that white light against her eyes in the beginning? What about that fire that no one found? Have you watched The Hole in the Ground (2019): https://kaygazpro.com/the-hole-in-the-ground-2019-drama-horror-mystery/? The folklore concept of the Changelings rings a bell here, too, but what that creature actually is, it’s ultimately up to you to decide. The Hole in the Ground‘s ending also shares the same fate, by the way.

    Barfoot, the numerous producers behind it and Shudder made horror for us to enjoy. While I find the ending unfulfilling, I do recommend it as it will keep you on the edge of your seat for the most part.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

    Stay safe!

    His Three Daughters (2023)

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    While their father is dying, three estranged sisters try to mend fences with one another.

    An impactful drama that holds its punches. Writer/director Azazel Jacobs creates a relatable family drama that gets your attention immediately and promises that things will escalate. Carrie Coon, Natasha Lyonne, and Elizabeth Olsen do a brilliant job as estranged sisters and, right from the start, seem at each others’ throats. But, again, with the potential to escalate to the extreme.

    Personally, this promise was not delivered. An outburst set the foundation for this escalation, but it only remained the foundation. Coon, Lyonne, and Olsen have tremendous acting capabilities as they are brilliant thespians. The script, though, allowed them to express that to a certain extent. Speaking of the script, to me, the ending was, again, to a certain extent, anticlimactic. It felt like it had to spoonfeed the audience to understand the father’s anxiety or fear about his daughters. Contrastingly, what I would like to know more about is what really troubles Christina (Olsen) and acts this way.

    There are some interesting artistic choices, such as when to reveal certain characters and how long to reveal them. Furthermore, the dialogue’s realism is profound, hence my negative view of its development – or lack thereof. The premise is very much relatable and the problem the three sisters face will resonate with you. So, His Three Daughters still has a lot to offer, regardless of my negative observations.

    To get an idea of what I consider an earth-shattering climax in such a confined environment, see The Father (2020): https://kaygazpro.com/the-father-2020-drama/

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

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    Third Cinema

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    What is Third Cinema? Emerging as a revolutionary film movement in the 60s and 70s, it challenged Hollywood’s profit-driven blockbusters and Europe’s personal arthouse films. Rooted in anti-colonial ideals, it sought to inspire change and amplify marginalized voices.

    Image References
    IMDb

    A Brighter Summer Day (1991)

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    When Xiao Si’r’s parents get angry, the film switches from Cantonese to Mandarin.

    John Waters

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    “I never answer my critics. That’s a sign of a true amateur.”

    The Shawshank Redemption (1994)

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    The scene where Andy (Tim Robbins) and Red (Morgan Freeman) talk in prison, and Red throws him the baseball took 9 hours to film. He threw the ball for 9 hours – without complaint! The next day, he showed up on set with a support folder.

    Sidney Lumet

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    “It’s art. It’s commerce. It’s heartbreaking and it’s fun. It’s a great way to live.”

    Saving Private Ryan (1998)

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    Steven Spielberg chose Matt Damon for the role of Ryan because he wanted a relatively unknown young actor with an American look. Little did he know that by the time the film was released, Matt would be nominated for 2 Oscars and win one – Good Will Hunting (1997).

    Rouben Mamoulian

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    “We are painting with light.”

    Hollywood: The Origins of the Golden Age

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    Hollywood – the birthplace of cinematic dreams. From Selig Polyscope’s early experiments to the rise of the Big Five studios, the Great Depression, and the Golden Age, the story of Hollywood is one of ambition, resilience, and innovation.

    Image References: IMDb / The Vanity Fair / Wikipedia / Wisconsin Center for Film and Theater Research

    Lowlifes (2024)

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    A road-tripping family needs to spend the night at a local family’s house in the middle of nowhere without possibly knowing what is going to happen.

    It changes the rules, but how effective is it? Structure-wise, it cuts right to the chase, building no suspense whatsoever. While that is not effective, everything else from then on is. The twist comes not long after but right in time to pique your interest.

    Lowlifes is written and directed in such a manner that I can’t say much without giving away the best parts. I’ll tell you this, though… stereotypes are meant to be broken, and Lowlifes does that quite well. Despite the ineffective opening sequence, writer Al Kaplan and directors Tesh Guttikonda and Mitch Oliver do a pretty good job balancing class, values, morals, taboos, patriarchy, and… cannibalism.

    This is an underrated horror that deserves the attention of every horror fan out there. Given its minimum budget, the result is profound and highly effective. Your emotional balance will be constantly switching until all is revealed to everyone involved. On top of everything, Amanda Fix, Matthew MacCaull, Brenna Llewellyn, Elyse Levesque, Josh Zaharia, Cassandra Sawtell, and the rest of the cast do a great job in front of the camera. Lastly, the ending will… well… you’ll see how you’ll feel when you get there.

    You might find Keith and his family’s morals funny or think that they serve as comedy within the horror, but they are not funny, and they don’t serve that. Think of American Psycho (2000) and Patrick Bateman. When you apply specific values in your personal life and act in such a manner in society, while it creates a comedic effect, it also speaks volumes about mental state, societal norms, and, to a certain extent, national identity. Think about it.

    For those who think that low budget means peanuts, check the end credits till the end and see how many have worked on a low-budget production like this. Congratulations to Tubi and all of the crew for contributing to this film. And all of them who contribute to every film we watch.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

    Stay safe!

    Hugh Laurie

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    “Screenwriting is the most prized of all the cinematic arts. Actually, it isn’t, but it should be.”

    The Shepherdess’ Lover (1956)

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    The first Greek colour film!

    The Platform 2 (2024)

    Hundreds of inmates in a mysterious platform with hundreds of layers try to survive, attempting to distribute food equally.

    The French Revolution meets “The Animal Farm” meets “Anarchy Unbound: Why Self-Governance Works Better Than You Think.” But The Platform 2 doesn’t meet its own expectations. It starts off by reintroducing the platform, its inmates, and the way the system works. Not long after, though, some things don’t add up, and soon, the audience realises that The Platform 2 is not a sequel but a prequel. So far, so good.

    The two major positives are the visuals and the acting. Great cinematography and editing, and well-acted by all the characters. As I’ve said numerous times in the past, though, if the script is bad or, in this case, way too convoluted, and the things people miss keep adding up, and the questions become significantly more than the answers, everything else fails. One would expect that being The Platform 2 a prequel, it would provide some context. What is this platform? Who built it? When? Where? Why? When does it take place? What is this antigravitational technology?

    To be clear (as one can be in this case), the ostensible message of The Platform (2019): https://kaygazpro.com/the-platform-2019-horror-sci-fi-thriller/ addressed the capitalistic system and, more particularly, class and wealth distribution, but it was not. The appearance of the kid, as well as what happened in the end, indicated that the people behind the system itself, the ones who think they control it, don’t. Class inequalities have now been replaced by ideological polarisation and extremism, and while that’s not an issue, a connection between the two films should have been made. The introduction of children in a similar place to the platform, the pyramid they form and the way(s) they connect to the adults create an even bigger mystery and open possibilities for more theories, providing fewer and fewer answers.

    I have mapped certain theories, but surely you can find a plethora of answers online. None of them, though, can be confirmed or answer questions. Ultimately, co-writer/director Galder Gaztelu-Urrutia consumes the audience with questions, such as: What is fair? Who should be in charge? Is there actually anyone in charge? Who’s free? Free to do what? From whom? How long for?

    I hope you enjoy it either way. It is a couple of hours of suspenseful action that will make your problems go away. Then, back to reality…

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

    Solidarity for all the innocent lives who suffer the atrocities of war!

    Stay safe!

    In a Violent Nature (2024)

    A vengeful spirit takes over a corpse that belonged to a young man and kills whoever stands in its way.

    Not for the faint-hearted. In a Violent Nature is sadistic, brutal, gory and pretty much disgusting. Who would recommend such a film? Definitely me! BUT… as stated above, this is not for everyone. It is for the hardcore horror fans and lovers of brutal cinematic deaths – where they should belong. So, the phenomenal opening sequence dives right into it. Slow-paced, diegetic (natural) sounds, omnipresent (invisibly following) camera capturing the action, and meticulous mise-en-scene (what you see, where, and how within the frame) promise a great horror with Jason Vorhees vibes.

    What makes the film stand out is the omnipresent camera. That means the camera is everywhere, following the action wherever it takes place, the whole time. Writer/director Chris Nash “forces” the audience to experience Johnny’s every malicious intent. In a nutshell, here’s what you sign up for: vicious and ungodly murders of young men and women with utter devaluation of human life or death. Deaths so innovatively brutal that you won’t hesitate to rewind them or produce whatever kind of sound while they are happening. It is pure sadism! In a Violent Nature is one of the most bloody, gory, and brutal slashers you have ever seen. With uncut, uncensored, and peacefully paced (like the killer) slaughters.

    This is basically the film; you follow around Johnny, watching him annihilate everyone. What I consider a major foul, though, is not that. I don’t know if Nash did it on purpose, but almost every character is indifferent, which makes you not care much about them when they die. And that kills the drama behind the horror. And without drama, it gets monotonous. The subplot that could have provided that drama is spreading thinner and thinner as the story unfolds, and you just wait for the next creative atrocity to happen. Finally, without giving away anything, I’ll just tell you that the ending is also anticlimactic.

    Ultimately, the voyeuristic camera that forces the audience to watch, which is also the film’s strongest suit, is not enough. It distinguishes itself from The Terrifier franchise by taking the “fun” out, so you have an incarnated psychopathic demon who does not laugh or take pleasure from what it does. But one who feels nothing, like Jason Vorhees on steroids.
    IFC Films and Shudder invite you to enjoy a trip to the cabin in the woods. What can go wrong, right?

    Thanks for reading!

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    The Order (2024)

    The rise of a white supremacist group in 1983 get the attention of an FBI agent who makes it his mission to take them down.

    Brilliant American indie that keeps you glued to your seats. This is very current. While I have no evidence to support the following, I can’t just accept that it’s a coincidence. With Trump coming to power – and extreme nationalism and paranoia with him – a film on the radical Christians, hate speeches and the continuation of the KKK cannot be a coincidence. Especially when it’s based on true events and real-life references are made, such as “The Turner Diaries” book, the meticulous plan to infiltrate democracy, and the Capitol invasion.

    Based on the script of Zach Baylin and the book by Kevin Flynn and Gary Gerhardt, director Justin Kurzel brings to life a crime/drama/thriller that hurts to watch. These are real heroes and villains that, in their way, they made a change. And these villains keep spreading like pestilence, and these heroes still fight with everything they have. The irony? Both want what’s best for their country. Jude Law, Nicholas Hoult – both Brits – Tye Sheridan, Jurnee Smollett, and the rest of the cast do an excellent job in front of the camera, incarnating those heroes and villains. Kurzel is a daring director, and while it feels like he is holding his punches here, his final cut delivers. The story and character development, and the plot, and the subplot work like a Swiss watch in all three acts. So, highly recommended for all the fans of the independent American cinema – and everyone else.

    P.S. Of course, if you haven’t seen Kurzel’s debut, one of the most disturbingly realistic films made to date, you need to sit down and watch it – Snowtown (2011) https://kaygazpro.com/snowtown-2011-biography-crime-drama/.

    Thanks for reading!

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    Offscreen Space

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    Off-screen space in cinema: what’s left unseen can be just as powerful as what’s shown. But do you pay attention to what you don’t see? Which has a stronger effect on you – the visible or the invisible?

    Image References: IMDb

    The Leftovers – A Lonely Journey Through Loss, Faith, and Human Fragility

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    Revisiting The Leftovers feels like returning to a haunting memory. Part of me wanted to see if it would evoke the same or similar emotions from back then, but a larger part hoped it would. This HBO masterpiece, crafted by Damon Lindelof and Tom Perrotta, delves into human despair, loss, and the struggle for meaning, presenting an unforgettable narrative that challenges conventional storytelling.

    Right off the bat, the series introduces its inciting incident, the Departure, and immediately shatters language and cultural barriers. It thrusts viewers into a world with a bizarre cult, a modern messiah, inexplicably aggressive dogs, and a parade of deeply troubled heroes, heroines, and lost souls – all drowning in indescribable despair.

    From a filmmaking point of view, the series stands out with its mounted over-the-shoulder camerawork, “sparky” editing, and montage sequences, all elevated by Max Richter’s incredible soundtrack. These techniques enhance the drama, build suspense, make you unintentionally laugh, and cause astonishment across all three seasons. While these elements merit an essay of their own, it’s the narrative structure that truly sets The Leftovers apart.

    The narrative doesn’t just portray despair – it sinks its teeth into it. It doesn’t hesitate to violate everyone’s personal feelings and emotions and expose them. It reflects the rawest forms of human suffering, remorselessly scrutinises their pain, chews it up, spits it out, and feeds it back to them. This unflinching exploration is what makes the series so profound.

    The actors’ understanding of these narrative strengths ensures the story resonates with raw, unfiltered authenticity. Kevin Garvey (Justin Theroux), Nora Durst (Carrie Coon), Laurie Garvey (Amy Brenneman), Meg Abbott (Liv Tyler), Tom Garvey (Chris Zylka), Jill Garvey (Margaret Qualley), Matt Jamison (Christopher Eccleston), Patti Levin (Ann Dowd), Erika Murphy (Regina King), and Kevin Garvey Sr. (Scott Glenn) are just a few characters who carry this weight with remarkable depth.

    The Leftovers places religion under a microscope, scrutinising it through the lens of an American society grappling with discombobulation and disillusionment. The show questions whether God works in mysterious ways or if belief itself provides any solace. Does the Departure reflect divine intervention (Rapture), or is it merely unexplained chaos disguised as a higher power’s plan? And how does a holy book provide comfort – or confusion – when nothing in it aligns with our tangible experiences?

    Countless moments resonate: Amongst them, the Departure, the dog shooting, the stoning of a Guilty Remnant member, the amorous ferry to Melbourne, the placement of the lookalike dolls, Kevin’s suffocations, and Nora’s shooting (not what you think). These moments force viewers to confront their own reactions to trauma, exposing how individuals and societies cope – or fail to – when faced with the inexplicable. What happened? Why? How? Where did they go? Was it a scientific experiment gone wrong? Or did the entire world become a massive purgatory, dividing people and creating its own narrative? These speculative questions haunt the viewer long after the credits roll.

    What also makes The Leftovers extraordinary is its mastery of non-linear storytelling. This technique perpetuates agony and suspense, answering questions not when we want to but when we need to. Take, for instance, the Reverend’s desperate sacrifices to save himself and his wife or Kevin’s surreal experiences in the mysterious hotel. The delay of resolution heightens the narrative’s emotional impact. The hotel Kevin finds himself in, clearly inspired by David Lynch’s surrealism, is a prime example. Its disorienting, dreamlike atmosphere challenges viewers to interpret its purpose. Is the hotel purgatory? A state of mind? While this approach may alienate some, it rewards those willing to read between the lines, culminating in a deeply satisfying ending.

    Season 2 surprises with its tonal shift – new characters, a new setting, and a fresh premise. Yet the anomalies in human behaviour, the earthquakes, the false security of Miracle Town, and Kevin’s unravelling tie it seamlessly to the overarching narrative. Season 3, in contrast, offers a crescendo of revelations, taking the action to Australia, where the story grows increasingly surreal. Garvey Sr., the mysterious woman on the phone, the girl on the telly, and Nora’s heart-wrenching decision all contribute to a conclusion that feels both inevitable and extraordinary.

    The Leftovers resonates deeply because it mirrors our world’s fragility. Lindelof and Perrotta created a drama that delves into the abyss of the human psyche, projecting fears, insecurities, and pettiness, offering an unexpected realism on an event that is so unlikely to happen. But we’ve lived through events we never thought possible – planes crashing into buildings, economic collapses, and a global pandemic that led to unprecedented fights over toilet paper. In these moments, the abyss of our psyche surfaces, forcing us to confront uncomfortable truths about ourselves and our society.

    The series’ dialogue exceeds expectations, oscillating between comical, heartbreaking, and profound. And the balance between the plot and subplot ensures that every moment feels purposeful. For clarification purposes, the subplot is the Departure; the plot is the aftermath. The scattered puzzle pieces audiovisually hint that someone – perhaps even ourselves – might hold the answers we seek. But we are too lost in ourselves to find them.

    What do you think Miracle Town represents? Divine intervention? Geophysical energy? Or something else entirely? The brilliance of The Leftovers lies in its ability to evoke such questions. It doesn’t provide closure but rather invites us to sit with uncertainty. Who knows? Ultimately, maybe the 2% departed, but perhaps it was the 98% who truly left.

    By the end, the series has laid bare the human condition in a way few narratives dare. No one knows how they feel anymore, how to act or react, or where they belong. Arguably, no one knows what anything means or if it means something to begin with. In times like these, when one means something and another perceives it entirely differently, a simple dialogue can speak volumes about how we are and feel.

    – Kevin: Is Nora gone?

    – Laurie: We’re all gone.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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    Kathryn Bigelow

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    “I don’t want to be made pacified or made comfortable. I like stuff that gets your adrenaline going.”

    Red Rooms (2023)

    An obscure woman becomes obsessed with the trial of a man who has allegedly committed heinous crimes.

    Obsession, depravity, psychopathy and personified evil in a slow-burn horror that might never be fully understood. On the surface, Red Rooms is a slow burn that ostensibly everything takes so long to happen, making one wonder why it is a horror and not a thriller. The first act’s protracted shots verbally introduce the heinous acts of a monster that looks like you and I, but he is not. In parallel, we are visually introduced to the alleged monster, Ludovic Chevalier (Maxwell McCabe-Lokos), as well as the rest of the key players, such as Kelly-Anne (Juliette Gariépy), Clementine (Laurie Babin) and the victims’ parents.

    The film’s second act elaborates on those characters, giving us unique perspectives of the seen evil. Chevalier remains entirely unaffected by the charges, Clementine defends him, the parents want to see him burn, and Kelly-Anne… well… that remains a mystery. The two-thirds of the second act is that. The audience is then left with two big question marks. Maybe he looks the part, but has he actually done it? And secondly, why does Clementine defend him with everything she has, and why does Kelly-Anne do everything she does?

    Against all odds, writer/director Pascal Plante gradually and patiently makes the second question more important than the first. Kelly-Anne is wealthy, alone, a model, athletic, a poker player, a bitcoin trader, a hacker, an AI expert, and who knows what else she is capable of, and the nights before the trial, she sleeps on the street near the courtroom. Why this person is obsessed with the trial and why she does the things you will see in the film lead to one conclusion… And this is where I need to stop before spoiling it for you.

    Plante created a third act that you will not be able to let go. The end credits will be scrolling down, and you will be thinking, “Why?” Her reaction to the content of the third video, her final act, and what she lost and what she gained will be looping thoughts inside your head. You will want to know why. And, arguably, this Red Rooms‘ uniqueness. An exceptionally well-crafted psychological horror for viewers with patience. Hint: Pay attention to why she plays poker.

    Eventually, when you let go, it is possible that the film’s main theme might come back and hit you like a hammer. There is an elite out there that pays astronomical numbers to see torture, torture porn, and inhumane acts against innocent souls without a shred of guilt or remorse. And then numerous people from every social and financial class seek it and cannot afford it. Twist: Chances are that we know them. They are our friends, even our relatives. We just don’t know if it is them…

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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    Queer Cinema

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    From the censorship of homosexuality in early cinema to the groundbreaking works of the 21st century, queer cinema has continuously evolved to challenge societal norms and push boundaries. But how far have we come, and what does the future of queer cinema look like in today’s world?

    Image References: IMDb

    Howard Hawks

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    “You can’t fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.”

    Suspiria (1977)

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    Did you notice that all the doorknobs are at the height of the protagonists, Suzy and Sara’s heads? This is because, in Dario Argento’s original script, the characters were about 12 years old. Although he raised their age to 20 to avoid an outright ban on the film, the doorknobs remained at the same height – along with the characters’ naivety.

    The Critic (2024)

    Wanting to maintain his authority, a renowned theatre critic uses and abuses his power, but not without dire consequences.

    A dark tale of ambition and vanity. Despite its many qualities, The Critic is not an easy watch for many reasons. Posh vernacular, slow pace, and undefined target audience are just a few. The film takes a significant amount of time to establish its purpose, which can easily make one lose interest in what is happening. That is understood, but writers Patrick Marber and Anthony Quinn and director Anand Tucker open the gates into a world of lies, power, abuse, deceit, manipulation, ambition, and vanity, where everything goes.

    Personally, I very much enjoyed it because, on top of the aforementioned, Sir Ian McKellen, Gemma Arterton, Alfred Enoch, Ben Barnes, Mark Strong, Romola Garai, Lesley Manville and the rest of the cast gave powerful performances. While this might not be enough for some, I still recommend it because the manipulative world of art and its industry still exists, perpetuating the scandals and black pages of its history.

    The Critic started and ended as a different film, and Lionsgate, the distribution company behind it, ordered re-shoots and re-edits. We don’t know what kind of a film it was at first. But maybe that explains the undefined target audience and why the film’s first part is a different genre from the second. That takes us back to questions such as: Who really makes the film, and who are films made for?

    Thanks for reading!

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    Nosferatu (2024)

    A vampire who is infatuated with a young woman escapes his castle, travels to Germany to find her, and faces the men who are hell-bent on stopping him.

    Believe the hype, but know what to expect from the script. Written for the screen and directed by Robert Eggers, Nosferatu becomes the next epic, dark, and gothic fairytale that will be discussed in the years to come. Released 102 years after the original Nosferatu: A Symphony of Horror (1922), the script combines that first early encounter with German Expressionism (which was defined a few years later) and Bram Stoker’s Dracula (1992). In that respect, the script does not offer much; it is just a fresh take. You know what will happen and more or less when and how it will happen. What differs is the plan and who will die in the process in order to get there.

    Having said that, several elements make Nosferatu stand out. First and foremost, the cinematography. Haunting, eerie, dark and the ultimate representative example of the evolution of German Expressionism. Cold environments feel cold, and warm environments feel warm. As for the shadows, they visually represent the film’s theme and create their own manipulative existence. The editing’s role is integral as it controls the film’s pace and rhythm without creating false expectations, keeping the script tight and emphasising the individual and collective high stakes. The costumes, hairstyles, and makeup effects are thrilling, pulling you into the 1900s, and Count Orlok couldn’t be more representative of the undead titular villain that has haunted mankind for generations – in literature and cinema.

    Eggers has achieved the ultimate “old wine, new bottle.” He found a way to show outdated techniques visually in a current and relevant way. See, for example, Orlok’s psychic communication with Ellen. Without the particular style of editing, it wouldn’t have been so effective. Or, the way the shadow on the wall with the protruded arm hovers upstairs. These are hundred-year-old techniques that, in modern cinema, one could see in comedies. Yet, the way he has used them still stays relevant and effective. The same applies to the melodramatic dialogue that mostly serves a theatrical purpose. Again, the way Eggers stages the action draws the audience in, and the particular vernacular seems natural – to the point that everyone speaks British English in a German city and is considered OK. Speaking of the people who speak the language, Lily-Rose Depp, Nicholas Hoult, Bill Skarsgård, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney, and the rest of the cast create amazing on-screen chemistry, delivering Eggers’ dream. Last but not least, an extra round of applause goes to the rest of the crew that, if it weren’t for the last runner, this film wouldn’t look like it does.

    When you watch a film, think of this: whose story is it? Nosferatu has an ensemble cast and feels like it is no one’s story. At least, this is how I felt. By definition, the story does not focus on a particular protagonist’s point of view, which sometimes spreads the script thin. Again, that is a tiny thorn in a visual masterpiece that will be discussed for a long time in the industry and academia. Arguably, though, he has succeeded in making the audience feel like it was a hundred years ago when the audience felt the same while watching the original. Eggers is a cinematic genius, and I, for one, look forward already to his next film.

    Thanks for reading!

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    Film Propaganda

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    From the trenches of World War I to the blockbusters of today, film has always been more than entertainment – it’s a powerful tool for shaping ideas. Are we consuming art… or ideology?

    Image References: IMDb

    George Clooney

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    “It’s possible for me to make a bad movie out of a good script, but I can’t make a good movie from a bad script.”

    3-Iron (2004)

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    Writer/director Kim Ki-Duk wrote the film in 30 days, shot it in 16, and edited it in 10.

    Pornography

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    Cinema and controversy often go hand in hand, and pornography is no exception. Where have debates, censorship and individual preferences led it? Ultimately, how has it shaped and been shaped by society?

    Image References: IMDb / Wikipedia / Met Museum: https://www.metmuseum.org/art/collection/search/266439

    Seeking a Friend for the End of the World (2012)

    A man looking for his childhood sweetheart travels with a woman trying to get to her parents and find companionship as an asteroid is about to hit the Earth.

    The side of American cinema that one can fall in love with. To say that it’s hard to combine two polar opposite genres is an understatement. Visually bringing it to life is even more challenging. On the one hand, you have the end of days; an asteroid is about to hit the Earth, and everyone will die. The side effects of that span from quitting the job, looting, killing, committing suicide… doing heroin, orgies, getting kids drunk… well, a variety of things one wouldn’t do otherwise.

    Writer/director Lorene Scafaria manages to make a film that will make you laugh, cry, and feel uncomfortable in between. The end of the world is coming, and people express themselves in ways they have never done before. Now, think about it. What does that say about people? We don’t dare to express how we really feel? To say what we want to say? To act like we want to act? That we don’t dare to live the life we want to live? Do we disclose who we really are only when the pending doom is coming?

    These are the questions Scafaria poses, and Steve Carell and Keira Knightley create the intended feelings by delivering bittersweet performances. With them, briefly, you can spot numerous actors who jumped on board just to be part of this film: Melanie Lynskey, Patton Oswalt, Adam Brody, Connie Britton, Rob Corddry, William Petersen, T.J. Miller, Gillian Jacobs, and Martin Sheen.

    Weirdly, I chose this film to close the year, but for some bizarre reason, it felt right. Have an amazing 2025, and let’s not worry about the end of the world but be happy about the beginning of a new, creative and compassionate one. Be well!

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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    Babygirl (2024)

    A CEO of a successful company starts an intense carnal relationship with one of her interns.

    My first negative review of an A24 film. Writer/director Halina Reijn made a film with the intent of causing shock to the senses – Think of Basic Instinct (1992). Babygirl shares many similarities, but it is not it, regardless of how you see it. The way Babygirl has been shot, edited, and acted is brilliant. As a viewer, you constantly want to know what will happen next while enjoying what is happening at present. What is happening at present is primitive, gore, sensational, and sensual. Nicole Kidman is the right person for the job and is still a great actress and woman. She is not just doing it for the money; she still shows her love for acting. And this is where the good news ends. From then on…

    Reijn’s directing is beautiful, but her script is deeply problematic.

    • Antonio Banderas needed a lot more screen time, as Jacob’s presence was undermined, and the audience couldn’t care less about him being cheated; if it wasn’t for that, they wouldn’t get to enjoy Romy’s sex scenes.
    • The power dynamics between Romy and Samuel (Harris Dickinson) are unspecified. It is unclear why they act the way they do.
    • Romy tries to explain it, but the cult she grew up in (and why that matters), her sexual desires, and why she wants to be dominated when she dominates her industry are unclear.
    • On the other hand, why Samuel acts that way and has such sexual desires is unclear.
    • Finally, why the ending is important raises questions. Does it actually matter? Why? To whom? What’s the moral story? How is the heroine better or worse from the beginning of that journey?

    Surely, you can find more things to say or ask as you contemplate the film. Personally, if the ending was fulfilling by justifying why all these encounters happened or if a calamity struck and left you speechless or a miracle happened and tears of joy filled your eyes, it would give the film a purpose. But the ending was anticlimactic, took away the purpose and made it look like a film that is just provocative for the sex scenes and nothing more.

    Basic Instinct (1992) meets Fatal Attraction (1987) could be a nice way to describe Babygirl, but this is not the case. If you are into provocative cinema, particularly from the female gaze’s perspective, watch Julia Ducournau’s Raw (2016): https://kaygazpro.com/raw-2016-drama-horror/ and Titane (2021): https://kaygazpro.com/titane-2021-drama-horror-sci-fi/. And if you want to get a better understanding of trauma and its inescapable reality, go for Resurrection (2022): https://kaygazpro.com/resurrection-2022-crime-drama-horror/.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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    Knox Goes Away (2024)

    0

    An assassin who suffers from dementia needs to help his estranged son by planning and executing a meticulous plan that can save his life.

    It hits hard from the start and doesn’t get easier in the process. Written by Gregory Poirier and produced and directed by Michael Keaton himself, Knox Goes Away is an easy and digestible watch that still manages to cut your breath short at times, especially in the end. What happens to Knox in the beginning, the act he commits afterwards, the thing he does for his son, and how he is seen in the end complete the hero’s journey and leave the audience with a bittersweet feeling that is maintained way after the end credits scroll down.

    Knox’s plan is meticulous, and while many credits go there, his condition and how he handles it also keep the suspense to the highest of levels. The beauty of the film is the simple premise. A man needs to save his estranged son before he… goes away. Keaton manages to get the audience to side with and feel for him while they know he is an assassin. His surrounding environment, comprised of an excellent cast, James Marsden, Al Pacino, and Marcia Gay Harden, also supports the notion that, indeed, he deserves redemption. Even his rival, Suzy Nakamura (Ikari), shares something positive about him.

    Lastly, Keaton nails his role. Just pay attention to his body movements and facial expressions. You see, Knox suffers from something terrifying. Something that is unfathomable to everyone until it happens to them. And when you start losing yourself… when you gradually forget the people around you, the things you say and do and the way you feel, and eventually, lose yourself within yourself, and you don’t know who you are or why you came to be… then you are alienated from reality… alone…

    Thanks for reading!

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    Tetris (2023)

    A video game designer discovers that a game called Tetris exists, and a witchhunt for obtaining its rights begins that involves its creator, international corporations and the Soviet Union.

    A brilliant mix of genres that informs, entertains and thrills. Writer Noah Pink, producer Matthew Vaughn, and director Jon S. Baird create a biography/drama/mystery/thriller that involves a lot of humour, fast-paced sequences and suspenseful moments that pin you down. A man and his will to succeed, corporate greed and a declining empire all blend smoothly into a two-hour film that involves a lot of (mis)information, personal drama, high stakes and intrigues and reveals how sometimes the ropes work behind simple pleasures of life, in this instance, Tetris. While we all played the game, we could never possibly fathom that these were the circumstances behind its creation and expansion.

    In front of the camera, Taron Egerton, Nikita Efremov, Toby Jones, Roger Allam, Anthony Boyle, Ayane Nagabuchi, and the rest of the cast create excellent chemistry, delivering performances that support the emotions the script intends to create. Egerton especially holds no punches in the pursuit of happiness and shows once more what a diverse actor he is.

    Highly recommended for the whole family and a night full of entertainment and suspense.

    Thanks for reading!

    Please, don’t forget to share and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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    AI in Film: Tool or Threat

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    AI in Film: Tool or Threat? Dive into the heated debate surrounding AI’s impact on filmmaking. Can the right balance ensure cinema remains innovative yet human-driven?

    Image References: IMDb / Featured Image by https://medium.com/@Mr.AliH.Muhammad/the-impact-of-ai-in-the-film-industry-e56280b12b3a

    Paul Thomas Anderson

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    “Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.”

    The Lord of the Rings: The Return of the King (2003)

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    To have as many extras as possible for the Black Gate battle, the production gathered several hundred New Zealand soldiers, who, in their enthusiasm, broke the wooden swords and shields.