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    Ava (2020)

    After having accomplished numerous missions, a female assassin with a troubled past becomes a target herself and has to fight for her life.

    Ava is a film on which I will spend little to no time, and I’ll be brutally honest. Geena Davis is the only actress who is exempt from what comes next. She’s the flower protruding from the swamp.

    Ava is badly shot, miserably edited, poorly acted, and horribly produced. What saddens me is the fact that A-list actors agreed to do this after reading a fundamentally flawed and clichéd script. Was it money? Boredom? Everyone was simultaneously high? Regardless, the result remains the same: a messed up, destined to sink and stay at the bottom, wannabe, Vidal Sassoon assassin film.

    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!

    Tusk (2014)

    An arrogant podcaster is flying to Canada for his show but ends up a prisoner by a mentally deranged old man who wants to turn him into a walrus.

    I had to watch it again. Well, not really. But I did, anyway. It is a film that my mate Ben and I discussed years ago, and it was most definitely… challenging! Everything about Tusk is beyond understanding. The concept, first and foremost, is an old man kidnaps you to make you a walrus. Still, it’s not The Human Centipede (2009), but that’s meant to be a sick, disgusting, stitching-ass-to-mouth horror. Something that brings me to another beyond-understanding point is that… this is a Kevin Smith film. The guy who brought us the Clerks franchise, Chasing Amy (1997), and Dogma (1999). But then he also brought us Red State (2011), so I don’t know why I act surprised.

    Tusk is a film that will shock you and disgust you if you know nothing about it. There is nothing I can say to make it make it more appealing or more difficult to watch. One thing I can say is that the cast nails it! Shockingly amazing team!!! Kevin Smith has experimented over the years. Cop Out (2010) was not my thing. If you asked me, it’s probably his most indifferent work to date. But the rest of his work is very appealing and interesting. He is a comic book nerd who has challenged and defied a lot of Hollywood taboos over the years. You’re gonna love it or loathe it. Regardless, think about this: Punishment for being a pompous a$$hole has also its limits.

    Ben, that’s for you, my mate. I hope my review makes it to the land of the rising sun…

    I bid farewell to the one and only Sean Connery. Rest in peace, sir!

    Happy Halloween!

    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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    Hubie Halloween (2020)

    A man who has always been mocked and bullied in his hometown takes it upon himself to save this year’s Halloween.

    I hadn’t watched an Adam Sandler film in a while, but I watched Uncut Gems (2019) last year. I was happily surprised, and I said, “Why not?” Well… now I’m saying, “Why?”! Hubie Halloween‘s audience is very, very, very, very restricted. The film’s level of humour barely scratches the bottom from start to finish, but that’s not what bothered me the most. Hell, it wasn’t even Sandler’s voice.

    The film’s theme is walking on thin ice. 99.7% of an American town with a dark history of hunting down people with pitchforks and torches in 2020 is making fun of and brutally bullying someone having a mental illness – whatever that is. It gets worse, though… That town’s once most beautiful woman – Julie Bowen, who still is that town’s most beautiful woman – happens to be that very same town’s nicest girl and part of that 0.3% that actually likes him, with the 0.2% being her nerdy son and the girl he wants to get who also happens to be as merciful and that town’s most good looking high school girl. The rest of the characters are just caricatures. Seriously messed up characters, regarding their role in society, sank into the dark pit of Hollywood’s cliché.

    Sandler and Bowen worked together in Happy Gilmore (1996), and admittedly, they are A-list actors. Ben Stiller, June Squibb, Michael Chiklis, Maya Rudolph, Shaquille O’Neal Rob, Schneider, Ray Liotta, Kevin James, and Steve Buscemi become part of it, for better or for worse. Almost everyone from Grown Ups 1 and 2 but also other films too. Sandler is a great collaborator and top-shelf comedian. Sometimes, though, he seems to be signing for everything under the sun, and Netflix constantly condones such a mentality. The movie is dedicated to the late Cameron Boyce, who was meant to be part of it. It’s shuttering that he’s not with us…

    For films that can easily be misconstrued or go under the radar, I always advise spending a couple of hours forgetting about the real world’s real problems and enjoying these films regardless of their flaws. This is not the case here. Go for all-time horror classics instead. The film’s message seems dumb, but deep down, it is actually mean-spirited, and I’ll dare to say harmful.

    Enjoy Halloween!

    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 Invitation (2020)

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    A young man recovering from a loss is invited for dinner by his boss and his wife during Halloween, but the night takes an inexplicable turn.

    Halloween special episode!

    DISCLAIMER: This story contains mature situations/themes and violence and is intended for an older youth audience. Listener discretion is advised.

    Based on my homonymous short horror script, The Invitation.

    © 2020 Konstantinos Papathanasiou.  All rights reserved.

    Bram Stoker’s Dracula (1992)

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    When Count Dracula comes to London from Transylvania, a series of ungodly events follow him, and a group of men unites to stop him from claiming his future bride.

    Which Dracula is your favourite? I guess your answer depends on how old you are. I grew up with Francis Ford Coppola’s, and admittedly, it is my favourite. And how could it not be… Gary Oldman, Anthony Hopkins, Winona Ryder, Keanu Reeves, Cary Elwes, Richard E. Grant, and Tom Waits. The late Michael Ballhaus’ haunting photography and the team’s meticulous editing synthesize one of the greatest Gothic fairy tales of the 90s. Two years before that, there was Edward Scissorhands (1990) – once again with the one and only Winona Ryder. See how shadows are cast, how the match-cuts stitch the sequences together, and how the narrative patiently unfolds. Also, the amazing costume design and the brilliant makeup (Oscar winners) are not to be discounted.

    The 2007 Collector’s Edition DVD audio commentary revealed an enormous amount of information regarding the film’s production. One of the most interesting facts is that, other than the Blue Inferno, no digital visual effects were used in postproduction. Coppola was adamant, and his vision paid off (it also paid for his production company’s debt and saved it from bankruptcy).

    In all honesty, of course, I am not posting this actually to review the film. I am doing it for two reasons: Its brilliance lies in the storytelling, and I really want to bring it to the newer generation of moviegoers or film lovers’ attention to appreciate and understand that visual effects should be used only as a means to enhance the narrative rather than overshadow it or compensate for the lack of it. Also, I want to remind myself and older generations that films such as Dracula still exist. Hey… it’s Halloween time, so why not dust the old scary DVDs and enjoy something from the past? For nostalgia…

    Enjoy Halloween!

    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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    Books of Blood (2020)

    A man looking for a priceless book, a young girl looking for redemption, and a mom looking for answers cross paths on a dark journey that leads to the unknown.

    Have you ever wondered what distinguishes a film from a TV movie? Is it the narrative or the way the story is told? Is it the photography? The editing? The acting? Something else? Despite what I believe or I may know, give it some thought while watching this one.

    Books of Blood has the 80s scent, and how could it not? It is from Clive Barker, after all. Well, the source, anyway… The first story is ultimately all over the place. It seems that there is no beginning, middle, or end. And what disguises as an end does not give enough justice to what could have been a true Barker story on screen. The sound somewhat annoyed me. I know it was meant to be disturbing for Jenna, but it was literally getting on my nerves on occasion. The Night Terror is, arguably, the best sequence, even though the tribute to The People Under the Stairs (1991) was quite suspenseful.

    The second story is a lot tighter. No one deserves to die from cancer, much less a young kid. So yeah, a single mom having to deal with that qualifies it as a strong drama. But the horror of what happens at the end of it is also strong. Shame that digital visual effects take away the atrocity it was meant to deliver. Regardless, consider the punishment’s gravity, especially regarding what he says afterwards. Did he deserve it?

    The third story smartly stitches everything together, and while watching it, you might realise that my review is as misleading as the stories themselves and that the whole is greater than the sum of its parts. Or not. As I said, it is from Clive Barker, after all.

    Enjoy Halloween!

    P.S. You would never think to see Seth MacFarlane sitting at the producer’s chair next to Barker’s. It must be 2020…

    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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    Found Footage: The Beginning, the Escalation, and its Societal Impact

    Tonight, Erik Kristopher Myers (ekm) talks about the roots of the found footage subgenre, its evolution, its contribution to the cinema, and its effects on society. Myers is a writer and filmmaker. His film Roulette (2013) won numerous festival trophies and his latest feature Butterfly Kisses (2018) shot to the top of the Amazon charts for New Release Fantasy, scoring rave reviews. Myers has also won numerous awards for screenwriting and editing, and among others, he has been a producer for XM Satellite Radio, a reporter for WTOP News, and a film critic for The Dagger and Ain’t it Cool News.

    The Haunting of Bly Manor (2020)

    A young, traumatised American au pair is hired to look after two orphan children living in a mysterious manor in the English countryside, where reality is deceitful.

    As I watched, I couldn’t help but think, ‘How am I supposed to write about it without giving away spoilers?’ I have tried to avoid hearing or reading anything about it, but sporadic negative whispers managed to find their way to me. I would presume that the audience that has, is, and will be watching Bly Manor is the same audience that has already adored Hill House. Thus, a line must be drawn between the two.

    Mike Flanagan, who once more proves to be a great filmmaker, and Amblin Entertainment and Netflix are still behind the mini-series – even though, past the first episode, Flanagan is not wearing the director’s hat. The same applies to most of the cast, who we get to see in different roles. Also, both of them are parts of the same anthology, marking Bly Manor‘s 35th adaptation for the film or TV of Henry James’ novella The Turn of the Screw – Flanagan pays a lot of tributes to The Innocents (1961). Due to the similarities, please don’t think or try to find a connection between the two. The producers have announced more series and stated that there is no link whatsoever – if they go down the American Horror Story (2011- ) road or not, that is a different story.

    Bly Manor‘s directing, photography, editing, costume design, and make-up department win the impressions from the first episode, and you’ll have no grief about their quality. The Newton Brothers have also done an excellent job with the film’s score, and I guarantee you that you won’t be able to shake off the “O Willow Waly”; it will hum in your ears for days. Furthermore, all actors deliver top-notch performances that will knock your socks off. All of them get enough screening time to unfold and develop their characters and make sure that each and every one of them will make your heart, one way or another, skip a beat. I mean, how Amelie Bea Smith can act this way is totally beyond me.

    The narrative is left deliberately for the end because it is the source of comparisons, contrasts, controversies, and contradictions. I can understand all four of them, but imagine if the Bly Manor was like Hill House. What would be the point? Some might prefer the latter because, behind the ghosts, there is a strong family drama that pins you down. Flanagan’s protracted shots give that drama the justice it deserves (that’s why I missed his directing on this one). But here’s what I think happened…

    The convoluted narrative that will end up with a mind-blowing resolution requires hiding clues and overall information, BUT, even while misleading with the fabula and syuzhet’s timeline, the filmmakers need to make sure they don’t leave their audience completely bamboozled. Because this is where they lose interest, and even when something big happens in the end, they will have already missed a lot and, eventually, will not understand or care about it. That’s my two cents anyway. I highly recommend it and look forward to the next haunting.

    Oh, before I go, there is actually something connecting the two: love or the lack thereof…

    P.S. Victoria Pedretti shone as Nell Craine, shines as Dani Clayton, and she very much reminded me of Piper Perabo when I first watched her in Coyote Ugly (2000).

    P.P.S. My beloved Ioanna, as promised, this one goes out to you!

    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!

    One Night in Bangkok (2020)

    A man arrives at the airport in Bangkok, gets a gun, hires a young female taxi driver, and people with no obvious connection between them start dropping one by one.

    One Night in Bangkok is more or less what you expect it to be. Producer/writer/director Wych Kaosayananda builds up the narrative slowly enough for the audience to get to know Kai and Fha to justify the film’s denouement. The editing’s rhythm and pace harmonise the film, but quite early into the film, one can realise that Kaosayananda doesn’t want to get rid of anything he has shot. And that becomes quite problematic. There is too much dialogue that could have been avoided, firstly, to tighten the script and reduce the film’s duration, and secondly, to edit out everything that the audience would have understood without the heroes and villains saying it. The latter is a greater issue simply because I felt I didn’t get enough credits as a viewer. I truly believe that about twenty minutes could have been cut out, leaving much to the audience’s imagination and also focusing on the action.

    The action is another issue that could have been done better, too. By now, we have seen action films in the last couple of decades that are equivalent to a cinematic miracle. Prachya Pinkaew and Gareth Evans have offered us Thai and Indonesian productions that have left us gobsmacked. Ever since action sequences have evolved and raised the bar sky-high. Going back to mediocre action scenes, especially starring Mark Dacascos, an avid martial artist who comes from a family of martial artists, lowers the expectations and generates mediocre reviews. Shame really.

    Dacascos is a good actor, and I really hope that, even now that he is nearing 60, he can still impress us with something better written, directed, and produced. Lastly, Vanida Golten, who appears for the first time in a film, does a magnificent job. Let’s hope that we see her in more projects.

    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 Wolf of Snow Hollow (2020)

    Brutally savaged bodies pile up in a small mountain town during the full moon, and an alcoholic sheriff must solve the crimes and keep the town in order and his estranged daughter safe.

    Comedy/horror… How does one put the two opposites successfully together? I don’t know if there is a universal answer, but, in this instance, it’s how actor/writer/director Jim Cummings puts them together. The comedic acting contrasts the dark and haunting photography, and the soundtrack either adapts to the tone or interestingly causes antithesis. My round of applause, though, goes to the editing team, not for the impressive flash-forwards during the killings but for balancing Cummings’ vision of finding humour in dramatic and horrific situations.

    I’ll deliberately keep this one shorter than usual. Turn the lights off and give it a go. Films such as The Wolf of Snow Hollow can be the escape we need against the depressing and abhorrent reality we currently live in, even though we have to return to it eventually.

    Last but definitely not least, rest in peace, Robert Forster. You will always be remembered.

    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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    Death of Me (2020)

    After a night they don’t remember anything, a vacationing couple finds a video of them where the husband kills the wife.

    The Hangover (2009) meets The Wicker Man (2006). Yes, the Nicholas Cage version.

    Death of Me… a film where everyone aimlessly is running around. I’ll cut straight to the point: there are significant issues with the story development and the editing. The story itself is more than decent, but then the project collapses by the minute as it unfolds. The acting is also decent – considering, but the film is beyond saving. I think the intentions were good, but the execution was bad. I mean… bad! I don’t want to slag it off more because, regardless, many people put in a lot of effort and work. It just didn’t come out right, unfortunately. Maggie Q and Luke Hemsworth are really good actors, so don’t let that film define their skills.

    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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    12 Hour Shift (2020)

    In a local hospital, a drug-addicted nurse and her small organ trafficking business “partners” find themselves in dire straights when a transaction goes awry.

    Should anything ever happen to you, and you end up in the hospital, that is the nurse you need… NOT! And that applies to the rest of the staff, police, family, patients, villains, and every other caricature that decides to appear on screen and lower the IQ to the extreme. But don’t cast any stones yet…

    Writer/director Brea Grant spent every penny she had in her pocket, and it wasn’t that many, very wisely. She knew exactly what kind of film she wanted to make, and she did. 12 Hour Shift is (almost) as funny as it intended to be, maintaining the horror level to the point that it doesn’t overshadow the main genre – comedy. Editing is the first indicator of this, as it effectively controls the pace and rhythm and keeps the story’s development very tight. Angela Bettis, David Arquette (also the main producer), Chloe Farnworth (who you wouldn’t believe is British), Nikea Gamby-Turner, and the rest of the cast are meant to be funny, and they most certainly are. Amazing chemistry between the actors that will make you, at times, laugh out loud.

    Now… I will say that producer/cinematographer/composer Matt Glass knew what he was doing while composing the film’s score. I can see how the soundtrack could come across as annoying, accompanying every sequence of the film, but it serves a purpose. And that is none other than to exaggerate something far-fetched already. The story’s level of implausibility is sky-high, the plotholes are lurking in every corner, and the acting is over the top… DELIBERATELY!

    I really recommend you watch it. We live in abhorrent times where death is the first news. 12 Hour Shift is a horror that will make you laugh and, certainly, for just less than an hour and a half, will make you forget about what’s happening out there. Grant’s intentions are noble and I for one admire her for making such a film.

    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 Horror Inside Us: Leading Anxieties and False Certainties

    Tonight, Dr. Michael Lee is discussing the horror inside us and why and how one’s inner certainties and anxieties can make the everyday person monstrous. Dr. Lee teaches courses on 20th-century music history, American music history, film music and film studies at the University of Oklahoma. Over the years, he has been teaching courses on the history of horror films, and one of his many specialities is Vampire Cinema. He is a passionate music historian who loves horror movies and began researching their film scores and diversified styles, especially from the 1930s and 1940s. Listen to how our perception affects how we interpret horrors and what Val Lewton’s contribution was.

    Open 24 Hours (2018)

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    Having just been released from prison for setting her deranged boyfriend on fire, a young woman gets a night job at a petrol station, where her past catches up with her.

    Promising opening shots that become too explanatory, too soon. The type of shots that fully increase the plot’s predictability. Keep watching, and you’ll see that they also become repetitive, so even if you spot a good one, chances are that you’ll watch it again (and again) minutes later, and it will lose its authenticity. Do not be alarmed, though, because as you keep watching, you’ll realise that the film is inundated with clichés that result from the aforementioned shots. Unfortunately, it all starts with the script, which borrowed parts from the loving horrors of the 80s and 90s and unnecessarily stitched them together. I have the utmost respect for indie films as they do their absolute best for the tiny money they have managed to procure. And here, the film’s budget is not the issue.

    The issue is that writer/director Padraig Raynolds decided not to leave a trademark on his film. Other than the above-mentioned copies and pastes, the composer shouldn’t have tried to copy Psycho‘s (1960) staccato, and Raynolds shouldn’t have used music throughout the whole film. The power of diegetic sound is immense, especially in narration, and it should have been used a lot more. Unfortunately, Raynolds raised the implausibility levels sky-high.

    Full disclosure: I found Vanessa Grasse, whom I first noticed in Leatherface (2017), very attractive, so I’m a bit biased. I believe she has a lot to learn about acting, and with the right guidance, she’ll do really great. I, for one, look forward to seeing her in more projects, and I hope her natural beauty doesn’t get in the way of her promising career.

    To cut a long story short, the story is original, but its development screams all the cliches Scream (1996) is about. Only “virgin horror eyes” will fall for these jump-scares, and not even they won’t bother asking (more than they can count), “How the f@!$ did that happen?!” On the flipside, counting the innumerable gimmicks, I momentarily forgot all about real life’s miseries, so what the hell…

    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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    Alone (2020)

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    A woman who has suffered a personal tragedy decides to leave everything and everyone behind, but a man with sinister intentions will turn her life into a living nightmare.

    My stomach was tight, and I could hear my heartbeat throughout all three acts and every chapter. If that film title referred to a drama, I would be depressed in advance just by speculating about its subject. In a thriller, though, that I admittedly knew nothing about, I had no idea what to expect. It was tempting to cheat and read the logline, but I didn’t.

    The nonverbal opening sequence speaks volumes; when there’s nothing to say, say nothing. The sequence with the heroine trying to overtake the SUV is defined as the inciting incident, which marks the way director John Hyams builds up suspense. From then on, it is like a heart attack waiting to happen. The moment Marc Menchaca knocks on Jules Willcox’s window, you know that everything is gonna go tits up. I will not give you any spoilers, but pay attention to the protracted shot at the pit stop, the close-up in the basement, and Menchaca’s monologue. These are but a few examples of sequences that indicate high-quality levels of pre-production and meticulous execution during the production and, consequently, the post-production stage. Needless to say, excellent chemistry between Menchaca and Willcox.

    Mattias Olsson, who wrote the original Swedish film Gone (2011), also pens the script for the adaptation, giving it the justice it deserves for the American audience. Well done to all the cast and crew, who seem to have worked under quite unfavourable weather conditions. My round of applause will go to the Department of Sound this time for their thorough work on diegetic sounds (sounds produced by nature). Keep your eyes peeled and your ears wide open for the last Oskar-level shot.

    Alone is a spine-chilling thriller about loss and acceptance and how catharsis can come as a wolf in sheep’s clothing. My challenge for you is to try and find what the villain wants… but also what the villain needs…

    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 Devil all the Time (2020)

    Dark, interweaving stories about faith, chance, innocence, and corruption that spring from the most corrupted part of the human soul.

    West Virginia… WWII is over, the soldiers are back, and the Willards, not from West Virginia, have trouble adapting. As if the war hadn’t done enough damage, understanding the Lord’s mysterious ways led people to be… set in their own ways. This result brings irony and nemesis, a rhetorical device and a goddess from ancient Greece, which civilisations have been stumbling upon in numerous shapes and forms for millennia.

    Almost an hour into the film, the new generation takes over the torch and builds on that wretched foundation, paving the path for and giving birth to menace and hypocrisy, two human “qualities” that the ancient Greeks “saw”chewing up man’s soul like locus. And only one offspring can come out of such a sorrowful family tree… Tragedy!

    Writer/director Antonio Campos, co-writer Paulo Campos, and editor and wife of the former Sofía Subercaseaux put their heart and soul into the film. The Devil All the Time has two strong suits. One is the narrative: the exchange between the omniscient narrator, who speaks people’s minds and connects interweaving stories, and the interchangeable restricted narration between the heroes and villains and the audience.

    The second one is the phenomenal casting: Tom Holland, Bill Skarsgård, Riley Keough, Jason Clarke, Sebastian Stan, Haley Bennet, Eliza Scanlen, Mia Wasikowska, Harry Melling, and Robert Pattinson. And guess what, most of them are not even Americans. Excellent chemistry between the actors and amazing work with the dialect coaching. Most of the cast and crew have worked together in other films before, with the most notable collaboration being Holland, Stan, and Jake Gyllenhaal, who’s wearing the producer’s hat – MCU. Donald Ray Pollock, the author of the homonymous novel, gets a special reference for voicing his first-ever narration in the film.

    I guess, in life, what goes around comes around. And The Devil all the Time is no short of literature on screen, believing, and strongly indicating it in the denouement, that we are trapped in an indissoluble delusion that we can run away from ourselves.

    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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    A Good Woman is Hard to Find (2019)

    Having recently lost her husband, a young mother is trying to protect her children from poverty and her little town’s underworld.

    Goddamn poverty! Goddamn misery! Goddamn drugs! Regardless of which triggers which and in what order, the defining opening shot is somehow immediately understood by the shots that follow it. Or is it?

    Writer/director of Road Games (2015), Abner Pastoll, directs a gritty Irish thriller with a realistic plague, a surrealist villain, and a down-to-earth heroine who has to put up with both while protecting her children. And what a heroine’s journey that is…

    Pastoll creates a dark yet healthy environment for the audience yet healthy for the actors to showcase their chemistry and shine in front of the camera. Sarah Bolger, Edward Hogg, and Andrew Simpson lead the way, but the rest of the cast follows and supports them as they should to create this thrilling crime/drama. I greatly respect the whole crew that managed to bring this low-budget indie film to life.

    Now… I cannot not comment on the dildo… probably the weirdest use(s) I’ve seen outside comedy. Firstly, it is unintentionally funny. Or dramatically funny – is there such a thing? Stealing your kids’ batteries from their toys to put them in your vibrator because you are a recently widowed young mum with urges isn’t funny… just funnily portrayed. Come on, I mean, I am sure they knew the mixed reactions the scene would stimulate. On the other hand, stabbing someone’s eye with the same vibrator you satisfy yourself to save yourself from rape is nothing but ironic (but relieving nonetheless).

    Despite your feelings towards it, at least you’ll witness a security system that uses VHS, and you’ll learn what a metaphor is…

    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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    Directors and Horror Films

    Ashley Scott Meyers is a writer, producer and director and owns the blog sellingyourscreenplay.com, where you can find practical tips and advice on how to sell your screenplay. He also runs SYS Select, where you can subscribe to receive premium screenwriting leads, online coaching and mentoring, online courses, and more. Tonight, he talks about the production and artistic differences between indie and studio-level horrors, their perception by both audience and directors and the importance of narrative in filmmaking.

    Ashley Scott Meyers: Writer / Producer / Director

    http://www.sellingyourscreenplay.com/

    13th (2016)

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    The astronomical rise of the prison population in the US throughout the decades, through victimization of ethnic minorities and partnerships between correctional facilities and private corporations.

    A brave new world! Well, not so new, really. Well, not so brave either, I guess. Writer, producer, and director Ava DuVernay hit the nail on the head with a revealing documentary on the once inexplicable rise of the prison population and its deep connections to racial inequality, the capitalist system, and their common denominator, which is none other than continuously manipulative governments.

    I am pretty convinced that DuVernay’s footage was dozens of hours long, and she could probably have had about three documentaries like 13th. While evaluating her footage, she narrowed it down and told the story as she did. The documentary’s strong suit is the information it provides on the connection between the era of slavery to the media and cinema and The Birth of a Nation (1915) to the present era, and how it is all connected to the rise of the correctional facilities industry. I for one, and not being American, I didn’t have the foggiest so that was, while unpleasant and disheartening, an eye-opening experience. The research was also solid and the archive footage was strong and extremely effective, it literally put a lot into perspective.

    And even though I learned loads about the disgusting, filthy companies that profit from human suffering, I didn’t get around why the poor who can’t get out of prison have been incarcerated, to begin with. I got an idea, don’t get me wrong, but instead of spending some time to expand on it, it expanded on movements and actions unrelated to the rise of the prison population.

    The editing in documentaries such as 13th plays a catalytic role in narrative formation. Documentary means research. The filmmaker does not really know where it will lead or how it will really lead them where it will. It is a journey. O.J.: Made in America (2016) is a perfect example of that. Upon meticulous editing, the 7 hours and 47 minutes focus on the chronicle of O.J. Simpson, the anchor of the documentary, and only expand to the events surrounding his case.

    Regardless, 13th is a must-watch, as are DuVernay’s previous work, Selma (2014), and the biographical When They See Us (2019) – reviews to follow.

    Panagiotis, this one’s for you, mate. Thank you for the recommendation.

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    Midnight FM (2010)

    During a radio producer’s last show, a serial killer invades her home, threatening to kill her family.

    The overwhelming suspense! Three thrilling acts that will keep you glued to your seats until the very end. There is not one dull moment throughout the film. Korean suspenseful narrative that, as usual, does not hold back and does not disappoint. This is a story-driven thriller where all utterances and actions are held accountable for what will happen next.

    Excellent directing ensures that the fast-paced editing unfolds the fabula and syuzhet exactly when the information needs to be disclosed. Soo Ae and Ji-Tae Yoo shine on camera, creating stimulating chemistry. An extra round of applause goes to the little girls for their equally brilliant performances.

    Midnight FM is a must-watch; no matter what I say, it will not make it more appealing. I hope you enjoy it as much as I did.

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    Antebellum (2020)

    Slaves at a Confederate quarter during the American Civil War experience a horrendous reality, but nothing is what it looks like.

    This is one of the most meticulous and intriguing opening shots I’ve seen in a while. Music, photography, and powerful acting set the tone for what is about to come. Unfortunately, though, as we go through despicable times, for more than one reason, it is hard to focus purely on the artistic part and neglect the atrocious side of the human soul.

    Leaving momentarily the politics and the comparisons with today’s depressing reality aside, I’ll go on with a disclaimer: I had no idea what I was signing up for. So, I started scratching my beard almost 40′ into the film… I really wanted to see where the story was heading. And this is when my excitement disappeared. The story dragged on and became so political that the characters lost interest. Janelle Monàe’s character became snobbish, and everyone else was indifferent. Nothing like the acting or story development of the first forty minutes. Politics were so forced into the film that it became unwatchable. Whatever was not political, it was pure boredom. I’m particularly fond of both Jena Malone and Gabourey Sidibe, and here their characters were, again, as snobbish and indifferent as Monàe’s – or worse. I cannot relate to such characters because I could never and have never hung around with such self-righteous and pompous people who like themselves that much and think of themselves so highly like they are Derek Zoolander. I am sure the people who value their ticket money feel the same way.

    Half an hour after that, and having watched a particular film in 2004 (no spoilers), I kind of saw where the story was heading. However, directors Gerard Bush and Christopher Renz made it too obvious; the only difference is that they over-politicised it. And that’s how the second part of the second act was doomed to fail. It didn’t make any sense whatsoever and undermined the audience’s intelligence. And the filmmakers should always keep in mind that horror fans are extremely savvy. I can see how appealing it is to make 12 Years a Slave (2013) meets Get Out (2017), but Steve McQueen and Jordan Peele have their own distinctive and unique style that it would be best to be left to them and not copied. Speaking of copying, did I mention the irrelevant reference to The Shining (1980) and the inexplicably identical poster with The Silence of the Lambs (1991)?

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    Gardens of the Night (2008)

    0

    Two little kids, a boy and a girl, after being abducted and mentally and physically abused, become adults and live on the streets, doing whatever is necessary to survive.

    Gardens of the Night addresses one of the scariest scenarios for everyone, especially parents. The non-linear narrative tells the story in a way that sustains the suspense until the end. Producer/writer/director Damian Harris develops the plot in a way that will glue you to your seats and will make you want to intervene, step in, take action, and end the atrocity. The fact that you won’t be able to, though, something that you know but are willing to fool yourselves even for a second, will make you at least root for the kids and the adults and pray for a happy ending. I personally hate happy endings. But not when I know that tragedies like the film’s theme are actually happening while I’m writing this review right now.

    It is a powerful film! Some shots will make you cringe, and there are shots, such as the one with the milk in the fridge and Leslie after the failed sex scene, that will make you want to squeeze the chair you are sitting on and cry your eyes out.

    My standing ovation goes to everyone: Harris for doing all the hard work, Ryan Simpkins, Jermaine Scooter Smith, Gillian Jacobs, and Evan Ross for carrying the film on their shoulders. John Malkovich, Peter Evans, Peta Wilson, Michelle Rodriguez, Shiloh Fernandez, Harold Perrineau and Jeremy Sisto had cameos that anyone could have done, and yet they decided to participate due to the film’s nightmarish nature simply. Tom Arnold, who experienced this nightmare firsthand, took the most detestable part. Last but not least, the rest of the cast and crew who made this film possible. Bravo!

    This is the American style of filmmaking that reveals a layer of our society that no one wants to admit exists. No one wants to know that it exists. A layer that is not buried deep under but right in front of us, and yet we willingly turn the goddamn blind eye because it would shake us to our core. And then we would have to overlook ourselves just to do something about it. My utmost respect to the unknown, suffering heroes who do… and the poor souls who have to endure it…

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    The Deeper You Dig (2019)

    0

    A terrible accident haunts the man who caused it and blurs the line between the living and the dead.

    This is why I love indie films. No major studio busting the cast’s and crew’s balls… only the director’s creative decisions… narrative that doesn’t have to abide by conventional rules… You know what I mean? If not, watch The Deeper You Dig, and you’ll find out.

    The tight script, shot, and editing in an experimental American style will get your attention from the opening shot. The music and the sound departments get credits aplenty for truly understanding the writers’ and directors’ vision and creating an eerie and, at the same time, awkward atmosphere. For that awkwardness though and the weird dissonance there are two more people responsible: the two leading actors, John Adams and Toby Poser, who guess what? They are also the writers, directors, producers, editors, and composers. To top it up, they are also husband and wife in real life, and the daughter in the film, Zelda Adams, is their daughter. A family affair indeed. You wouldn’t believe what their production company is called… Adams Family!

    Kudos to all three of them; they’ve done a brilliant job in every department. I wouldn’t call it a horror, but definitely an interesting thriller. I will admit that past the… deep supernatural information (no spoilers), the convolution got me to scratch my beard more than once, and the ending is nothing like I expected. This merely means that it’s a good or a bad thing, but that’s how the creators envisaged it; that’s how they executed it, and I take it as it comes. Extra kudos to the photography and editing. That means the quirks with the foibles. I hope you do the same.

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    Kids in Horror: Source of Evil vs Source of Resolution

    Michelle Satchwell is Head of the Social Sciences Department at a large school in Derbyshire, UK. She analyses kids’ use in horror films and examines the genre through the prism of Evolutionary, Cognitive, Psychodynamic, and Social Psychology. She will make you question why you feel the way you do when watching a horror.

    https://open.spotify.com/episode/529HRspQFiykN4wXOQ3Ykw

    References:

    Trypophobia – fear of irregular patterns or clusters of small holes or bumps, e.g. buttons, crumpets, sponges etc.

    Evolutionary/Biological psychology

    There’s no psychologist named, but we tend to take Dawkins and apply it to psychology.

    Emamzadeh (2018) Origin of common fears: A review (Psychology Today)

    Parapsychology

    [ESP cards]

    Utts (1991) Replication and meta-analysis in parapsychology.

    Cognitive psychology

    [Elizabeth Loftus pioneer in the field and expert witness in courts].

    Loftus and Palmer (1974) Reconstruction of automobile destruction (I mentioned experiment 1).

    Loftus and Pickerell (1995) Lost in the Mall study.

    Jean Piaget (1952) Assimilation and Accommodation in Schema theory.

    Psychodynamic psychology

    Sigmund Freud (1917) Introduction to psychoanalysis.

    [Id, Ego, and Superego are all part of the Tripartite model of the personality in our unconscious like an iceberg].

    Social psychology

    Haney et al. (1973) Stanford Prison experiment.

    Zimbardo (2007) Lucifer effect.

    Piliavin et al (1969) Good Samaritanism.

    [The bystander effect: https://www.youtube.com/watch?v=OSsPfbup0ac]

    Behaviourism

    Pavlov (1897) Classical conditioning in dogs

    Social Learning Theory:

    Bandura et al (1961) Bobo doll experiment.

    Michelle’s book: Psychology Review: A-level Exam Skills and Practice Paperback – 30 Oct. 2020 ISBN-10: 1398308013

    The Town (2010)

    A band of thieves terrorise the banks of Boston, but when personal feelings and the FBI get in the way, everyone’s loyalty is at stake.

    10 years old and not outdated a bit. Thrilling action and suspenseful drama to keep you pinned to your seats for two hours. Since the beginning of his career, Ben Affleck has been proving time and time again his undeniable talent both in front and behind the camera. Think of The Town as Heat (1995) meets Good Will Hunting (1997). An exceptional mid-90s action film fifteen years later. Next to Affleck, Jeremy Renner will make you wonder, “Is he actually such an a$$hole?” He is meant to be one, and he nails it as he nails the accent. One of his best performances to date. Jon Hamm, Rebecca Hall, and Blake Lively couldn’t have been a better choice, and Titus Welliver, Chris Cooper, and the late Pete Postlethwaite are as hateable as they were meant to be. A-list from head to toe!

    I know that you probably have watched it. If you have, watch it again. It is most definitely worth it. If somehow you’ve missed it, make it your next film!

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    The Rental (2020)

    A relaxing weekend’s getaway is ruined by dishonesty, lies, and secrets and turns into a living nightmare by… someone watching.

    Excellent directorial debut by Dave Franco, who seems to have put his heart and soul into the film’s writing and production as well. Perfect opening shot, red-flagged suspicion from the second shot, straight to the point right after, excellent pace and rhythm, believable dialogues and reasonably stupid decisions, no Hollywood heroism or character development, and last but not least, raw and unexpected violence. Furthermore, Dan Stevens, Alison Brie, Sheila Vand, Jeremy Allen White, and Toby Huss create incredible chemistry, increasing the film’s realism.

    As a huge fan of one-location horrors/thrillers, I guarantee this is a must-watch! As mentioned in the beginning, Franco really does an excellent job, and it’s good to see people who “grew up” in Hollywood avoid certain Hollywood conventions that unavoidably lead to decadent clichés.

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    Valley of Shadows (2017)

    After his dog runs away, a little boy’s quest for the unknown leads him to a forest where urban legends and reality blend.

    The obvious achievement is Marius Matzow Gulbrandsen’s cinematography. And by that, I mean Oskar-level cinematography. Young Adam Ekeli plays the part exactly as he should; other than his skills, Jonas Matzow Gulbrandsen’s directing is to praise. The amazing Zbigniew Preisner’s music adds the final touch with his mesmerising and atmospheric composition. The very slow-paced rhythm and the lack of action should not put you off. Valley of Shadows is the definition of a hero’s journey told in a Scandinavian (Nordic) way. 

    I accidentally stumbled upon the film, and I am so glad I did. The narrative is extremely restricted, making you experience the aforementioned journey through the kid’s eyes alone. Travel back to that age and try to remember how you perceived reality when you were little. Then, and only then, come back and interpret the events as you see fit. I repeat, do not expect action. Pretend you are that kid having been lost in that eerie yet dazzling forest, knowing nothing about conscious or unconscious elucidations.

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    The Villainess (2017)

    A female assassin accepts a mission that turns her world upside down.

    One of the most impressive and bloody opening action sequences you have ever seen! Nikita (1990) meets Kill Bill: Vol. 1 (2003) meets Doom (2005). And then, they all meet a tad cliché and unnecessarily convoluted storyline.

    A young girl who witnesses her father getting murdered (1) gets saved and recruited by some people (2), who help her avenge her father’s vicious murder (3), but then gets caught by a government organisation (4), which offers to train her (again?) (5), and ten years later, she starts a normal life (6), but goes back to doing missions (7). That’s the story’s development. Then, there is the character’s (un)development. Finishing the second training, she has fewer skills than the first.

    The editing is somewhat confusing, too. Ten years fly by like months, and time flies by after that until the last mission when it decelerates to real-time. The rhythm and pace of this film are a case study. As for the directing… Honestly, it feels like the opening sequence’s director quit or got sacked during Act Two and returned just for the final confrontation.

    Please watch it if you haven’t already done so, and feel free to share your opinion. Maybe it’s me.

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    The Wretched (2019)

    0

    A teenager spends his summer working for his dad, falls in love, and confronts an ancient demonic entity.

    Strong opening sequence to get your undivided attention, followed by some American cliche, but… don’t let that trick you. The indie spirit of filmmaking makes it interesting, original (partially), funny, agonising, and quite scary. Until halfway through the second act, it feels like it’s two different films eagerly waiting to become one. Past the second act’s montage, the moment you start thinking: “Yes, but how…”stop it! Play along! The Wretched beats many conventions, making it a highly enjoyable must-watch summer horror flick (if you didn’t watch it last year). The HUGE POSITIVE SURPRISE is Piper Curda, who is as hilarious as she is thrilling. She definitely stands out.

    The Wretched is a highly enjoyable summer horror flick (not for the whole family) to spend an hour and a half, forgetting our sad reality. I hope you feel the same way.

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    Relic (2020)

    When an old lady is reported missing, her daughter and granddaughter rush to her house only to find her, along with a malevolent entity that also dwells in the house.

    It all starts with Natalie Erika James’ and Christian White’s amazing script and ends with James’ exceptional directing. Charlie Sarroff’s claustrophobic cinematography will cut your breath short, and the hair-raising performances by Emily Mortimer, Robyn Nevin, and Bella Heathcote will make you feel how they feel. Nevin, especially, makes one hell of a scary grandma that will crawl under your skin.

    The film’s gut-wrenching psychological horror is the outcome of the fictional paranoia that directly derives from a real-life, agonising drama. It is the terror of what happens to so many people when they grow old while all of us wish that it is not us that it will happen to. And you would never guess who’s wearing the producer’s hat on this one: Jake Gyllenhaal and the Russo Brothers. Who would know?

    Relic is a bone-chilling, metaphorical horror/drama that follows (thankfully) no Hollywood narrative, offers no easy way-outs, glorified, ephemeral pseudo-heroes, and cheap jump-scares. It is the proud representation of Australia’s film school, a school that teaches how to think outside the box and make films as harsh as life itself.

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    The Old Guard (2020)

    A group of immortal mercenaries is set up and hunted down, but together, they’ll take down anyone who stands in their way.

    Well-shot! Good job by Gina Prince-Bythewood, as international films, especially of that magnitude, can never be easy. There are too many locations, too many cast and crew, too many permissions to shoot, and too many visual effects. I believe it’s her most ambitious film to date, so well done! Charlize Theron and her multinational/multiracial team of mercenaries create great chemistry in front of the camera, offering plenty of action but also laughter when they take out and wield their weapon of choice.

    Now, I would say that the film’s score is not a perfect match. Maybe I kept having the graphic novel in mind while watching, and while reading the comic back in the day, that’s not the music I had in mind. I can understand that the film’s target audience is not me, so maybe it makes more sense for younger people. It is very well edited, though (on that music), so the rhythm and pace compensate.

    Before hitting “play”, remember: This is a Skydance & Netflix production. The Old Guard follows the standard New Hollywood narrative, aiming at an audience that has no interest in Italian neorealism. It is entertaining, though, and I enjoyed all the effort put in by everyone in front and behind the camera. I hope you do as well.

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    Influential, Dissuasive, and Thought-Provoking Monologues

    Intro/Intention

    We live in troubled times. Society had always been in the crosshairs, and its fragility, every so often, showed more than others. Ever since we celebrated the entry of the third decade of the 21st century, our health, first of all, and then our practices, norms, customs, morals, values, and beliefs, have all been put to the test. No matter how one looks at it unless you own a successful online business or a toilet paper factory, the outcome is disheartening and unfavourable, to say the least, for all of us. I believe that no matter what, though, the last few months, we all got some time to contemplate and re-evaluate life as we knew it.

    In that spirit, as the title implies, you can find some of the most influential, dissuasive, and thought-provoking monologues that I carefully hand-picked. The purpose of the chosen ones is to entertain you, educate you, and potentially find an application in the way you see and experience life. Some of them include spoilers, so I recommend you watch the films first to get the full impact. If you have watched the films, on the other hand, they will, hopefully, make you hit “play” once more. Regardless, for all the films, I would recommend you watch them all. Starting from the opening scene. Enjoy reading!

    The Films

    V for Vendetta (2005): In a not-so-distant dystopian future, a masked vigilante called V will fight and plot against Britain’s authoritarian regime, recruiting a young and innocent woman.

    Arguably, one of the most well-written and most eloquently introduced anti-heroes. Some of you, or me, would choose “hero”, but let’s not get caught up in semantics. V for Vendetta is inundated with influential, dissuasive, and thought-provoking monologues, so that could make an article on its own. Yet, I find that (anti)hero introduction one of the most impressive I have ever watched, and I can’t say with certainty how many times I have reminded myself to watch it over and over again. After all, how many times have you had the chance to encounter, in less than a minute, 48 words starting with the letter “v” (and 55 in total)? Hugo Weaving’s delivery throughout the film (even with his face hidden) is immaculate. There is so much detail in both the mise-en-scene and the dialogue that you will pick up something new every single time. If then you just want to watch the excerpt as many times as you like, you can do so here: https://www.youtube.com/watch?v=wKn1R6fekk4

    Speaking of heroes and anti-heroes, I picked the most odd one, and I’ll start backwards. The sole reason for its introduction is the avoidance of casting stones. So, please bear with me. It went under the radar due to the protagonist’s name, but also because it’s in French, and I really felt compelled to write about it. The actor in this film is portraying himself, and even though it is not biographical, per se, it sheds a strong light on the actor’s life off-screen. As I have watched most of his films (some were impossible to even watch the poster), this one is definitely the one that he uses all of his years of acting skills to perform on camera. So much so that this particular monologue was done secretly without any other crew member or cast – other than director Mabrouk El Mechri – knowing about it until post-production. Without further ado, I bring to you Jean-Claude Van Damme in…

    JCVD (2008): Having to deal with personal and professional problems, Jean-Claude Van Damme returns to his home town to escape from Hollywood’s suffocating way of life.

    Now, please put the stones down. You can find the excerpt here: https://www.youtube.com/watch?v=vMvdGC2FIEU

    Glengarry Glen Ross (1992): The night will prove to be long and hard for a group of real estate brokers who need to start making sales by morning, or they lose their jobs.

    Who is serious about sales? Do you know, or do you think you know, what the life of a real estate broker looks like? Do you know what you are asked to do? Alec Baldwin will go through it. Sharp, intense, insulting, degrading, and unintentionally funny, Blake’s monologue accurately describes how you could potentially be seen and treated should you decide to get a job in that kind of sales. The film itself has been used by real-life salesmen for training purposes, and Baldwin’s part in “A.B.C.” has become a Bible. His tone and performance are based on George C. Scott’s delivery in Patton (1970). Usually, when we refer to something as “too scripted”, it has a negative connotation. Not in Glengarry Glen Ross. Every dialogue and monologue is how David Mamet wrote it.

    Watch one of Baldwin’s best performances in one of the greatest acting ensembles in film history. The film that the cast referred to as “Death of a Fuckin’ Salesman”, contains more “fuck”, “shit”, and “leads” (over 270 times) than you have ever heard before, and that puts the salesman between a hard place and a rock as, no matter what he does, he will never good be enough.

    It’s not funny, but I dare you not to laugh. Welcome to the ABC’s of sales: https://www.youtube.com/watch?v=v9XW6P0tiVc&feature=emb_title

    BlacKkKlansman (2018): An African American and a Jewish police officer manage to infiltrate Colorado Springs’ KKK with the purpose of taking it down.

    My next choice is Kwame Ture’s speech, delivered by Corey Hawkins. To some extreme, to some, the expression of truth, but no matter what, one cannot ignore it. Ture’s words find meaning to people who share African physical characteristics, and for that reason alone, they are treated as children of a lesser God. What if the same speech was about mental health characteristics? Are people with mental disabilities treated as equals? As the “normal” ones? If you have ever in your life been singled out, would you still think his speech is extreme? Regardless of what you believe or where you stand, Ture makes a point and as Plato put it: “Wise men speak because they have something to say; fools because they have to say something.” As for the content of the speech, I follow Desmond Tutu’s example: “A person is a person because he recognizes others as persons”.

    Listen and decide for yourselves: https://www.youtube.com/watch?v=vgJSPpYvaKY

    Precious (2009): A pregnant, obese, and mentally and physically abused girl who lives with her cruel mother wants to join an alternative school to escape the reality she is currently in.

    Ture’s speech about black people is political and reaches an audience, no matter how small or large. What if you are black and what you have to say doesn’t even reach your front door? That is the root of Mary’s emotional outburst: Loneliness. Heart-breaking, soul-sucking, unbearable loneliness. Mary has suffered what Ture describes, and even though she belongs to the same ethnic group, no speech, profound or otherwise, can heal the tormented reality she has endured.

    In 2010, Mo’Nique, who deliberately took the role as she’s a victim of incest herself, got the Oscar for Best Performance by an Actress in a Supporting Role. How did that propel her career? It didn’t! As per IMDb, from 2009 to the present day, it took her five years to land another role and since 2016, none! She was “blackballed”. Why? Because she “didn’t play the game”. Welcome to Hollywood!

    You can watch her jaw-dropping performance (while wishing for her comeback) here: https://www.youtube.com/watch?v=dVUflz0HwUk&t=22s

    Mr. Robot (2015-2019): A cyber security engineer during the day and a hacker at night, Elliot, a young man with numerous mental disorders, decides to fight corrupt governments and shadowy organisations.

    At this point, I felt it would be fair to add a couple of series to the mix. TV writers spend incalculable hours trying to develop both characters and stories and stay true to them, so I believe they deserve recognition. From season 1-4, Mr. Robot becomes the gospel of monologues. The inner voice in his head is the never-ending motive and guidance throughout his every move. Out of all the monologues he’s having throughout the years, I picked this one: Season 2, Episode 3, where Elliot loses control of what he says and goes against God and organised religion.

    One of the reasons I picked this one is because, in this instance, mankind is the victim of vicious Gods who make us hate each other for being different. Rami Malek may not have won the Golden Globe he was nominated for, but his performance in Sam Esmail’s creation will always be remembered by all of us who “religiously” watched, discussed, and analysed this 4-year journey. Have a taste: https://www.youtube.com/watch?v=4fj74k8lqxY

    Westworld (2016 – ): In the not so distant future, large corporations invest in a world where androids (hosts) can perform all sorts of fantasies for humans (guests); but not without consequences.

    Picking up from Mr. Robot’s God/mankind relationship, very interestingly, in Westworld, Season 3, Episode 5, happens exactly the opposite in a selfsame environment. God, having offered us a paradise, becomes the victim of mankind, which vandalised everything He gave us. And now, we have to live with ourselves. This time, the speech is delivered by Man in Black, the Oscar nominee Ed Harris, whose cynicism is the outcome of love – or the lack thereof.

    Before clicking on the link, please remember this crucial information: In storytelling, the importance or meaning of something heavily relies on what has happened before you encounter it and what will happen after you do. More often than not, we appreciate the value of something or someone only retrospectively (and, unfortunately, in life, too late), and that is only after all the information received has been accumulated and processed.

    In Westworld, people with money have assumed the role of God, and scientists, as Dr. Malcolm very eloquently put it in Jurassic Park (1993) “[…] were so preoccupied with whether or not they could, they didn’t stop to think if they should.”: https://www.youtube.com/watch?v=FKZYQ72N0To

    Field of Dreams (1989): An American corn farmer who is hearing voices feels compelled to build a field; a field that will host the 1919 Chicago White Sox.

    “If you build it, he will come…” Field of Dreams represents a field of hope. And James Earl Jones, the man with one of the most characteristic deep voices (Darth Vader) and the greatest stage actors, raises our hopes that “people will come…” The speech might be more appealing to the American audience due to the nature of the sport, but baseball is not just American, and it’s not just a sport. Its existence has influenced history, politics, sociology, human rights, and more.

    Jones’s signature speech represents the principles and values that elevated the sport to what came to be an American way of life and national pride. It is the speech that defies all odds against you: https://www.youtube.com/watch?time_continue=153&v=7SB16il97yw&feature=emb_title.

    Judgment at Nuremberg (1961): Following the end of WWII, in 1948, an American court set in Nuremberg, Germany, tries four Nazi officers for crimes against humanity.

    Allow me to give you a few reasons why you should definitely watch the whole film before you get to Judge Dan Haywood’s speech: Spencer Tracy (the Judge), Burt Lancaster, Richard Widmark, Marlene Dietrich, Maximilian Schell, Judy Garland, Montgomery Clift, William Shatner. All in one film! In the 1962 Oscars ceremony, most of the actors nominated for the golden statuette were from this film. One of the best ensemble films and strongest court dramas of all time where, in the end, after everything is said and done and all sides have been heard, Tracy will come out to deliver his summation speech in one take from two different angles.

    In times where political “leaders” couldn’t have acted more irresponsibly or even criminally, this almost 60 y/o speech could not have been more relevant and current. Watch but also listen to the verdict of a trial that is not from our time but makes one wish for actual leaders who can inspire these words, transcend them, and build a world where everyone is welcome to live in: https://www.youtube.com/watchv=N3BwK51YFgQ

    The Great Dictator (1940): While a fascist dictator is expanding his empire, a poor, Jewish-lookalike barber is avoiding his persecution.

    Isn’t it funny? The further back in time we go, the more truth and meaning we find in words. How is it that the turned-80 y/o speech by Charlie Chaplin could as well have been written… yesterday? You know what else is funny, but actually funny? The film itself. The Great Dictator will make you laugh all the way. That’s what Chaplin does (yes, not did!). And somehow, the shift from one genre to the other, from comedy to drama, will hit you like a shock wave.

    Hitler banned the film in Germany and every other Nazi-occupied country*. Years later, the same nation that praised Chaplin hunted him down as a Communist. I guess the wind changes both figuratively and metaphorically. The Great Dictator‘s diachronic message on freedom and democracy, though, hopefully, will be echoing way after our generations leave this Earth, and it is my wishful thinking that the generations to come will actually learn from its gravitas: https://www.youtube.com/watch?v=J7GY1Xg6X20

    *Fun fact: The reels were switched in a cinema somewhere in the Balkans, and, watching this, German soldiers either left the cinema or started firing at the screen. (Source: IMDb)

    Outro

    “If you think you are too small to make a difference, try sleeping with a mosquito” – Dalai Lama. No one is too small. Actors, writers, and directors may have left a powerful legacy behind them for all of us to watch and learn from. There is genuine material out there to make us laugh, cry, and educate us. But you don’t have to become an actor, writer, director or any other household name or persona to leave your legacy. If anything, the current pandemic made room and brought to light the real heroes/heroines who have always been amongst us: the nurses, the doctors, the paramedics, the supermarket employees, every essential worker out there, and yes, the police officers who risk their lives to keep the order. For every crime committed, there are numerous acts of gallantry by everyday people who never see the light of publicity. By people who do not have the time or the interest for petty arguments on social media. By people whose only goal is to leave this world a little bit better than they found it. And that’s the humble speech I leave you with.

    Vi Veri Vniversum Vivus Vici

    Complimentary monologues that also deserve your attention:

    Coupling (2000 – 2004): Steve Wants a Lock on the Toilet – https://www.youtube.com/watch?time_continue=167&v=IezFzsZwxwE&feature=emb_title

    Newsroom (2012 – 2014): America is Not the Greatest Country in the World – https://www.youtube.com/watch?v=wTjMqda19wk

    Scent of a Woman (1992): I’ll Show You Out of Order! – https://www.youtube.com/watch?v=Jd10x8LiuBc

    25th Hour (2002): Fuck Everyone – https://www.youtube.com/watch?v=TgL_5QcZCMo

    Network (1976): I’m Mad As Hell and I’m Not Gonna Take This Anymore! –

    https://www.youtube.com/watch?v=MRuS3dxKK9U

    True Detective (2014 – ): The Philosophy of Pessimism – https://www.youtube.com/watch?v=A8x73UW8Hjk

    Alpha Dog (2006): The Denouement: https://www.youtube.com/watch?v=TPx-nF6-IZQ&t=4s

     

    Thanks for reading!

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    Stuber (2019)

    Determined to avenge the death of his partner, a huge cop with limited vision recruits an Uber driver to take him to the city’s most dangerous parts.

    Watch the trailer! What you see is exactly what you sign up for. If you like it, you’ll like the movie. If not… Bob’s your uncle. In a nutshell, Stuber and the genres accompanying it accurately describe what kind of a film it is: action/comedy/crime. There is a crime, and then a lot of comedic action follows it. Dave Bautista and Kumail Nanjiani make a funny duet in a project that looks like… erm… a… version of Taxi (1998)? It isn’t, but you get the idea. Mira Sorvino, Natalie Morales, Betty Gilpin, Iko Uwais, and Karen Gillan complete the cast and charm the film even more with their presence.

    There is no reason to be negative and bitter about films such as Stuber. It is an R-rated funny-buddy-action flick with the only noble intention to entertain you and nothing more. After watching the evening news, Stuber is definitely the right choice before bed.

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    The Way Back (2020)

    A man is offered to coach the high school basketball team that he used to play twenty-five years ago, but personal suffering and alcoholism will only exacerbate his problems.

    I watched The Way Back based on assumptions. I thought it would be a Disney-like film about a man who struggles and, through the kids’ basketball team, finds redemption where, in the end, everyone lives happily ever after, the family watching it turns off the TV, and everyone goes to bed with a smile. Without revealing too much, I will tell you this is not true. Not really. Watching it, I found blurred lines between the plot and the subplot. Is it him and the basketball team, the plot, and his suffering, the subplot? Or the other way around? I’ll leave this one with you. Food for thought…

    The Way Back has many strengths. Ben Affleck, who has faced several personal issues, alcoholism included, is always mastering roles such as this. Roles such as this made him famous, and films like these are why his presence in front and behind the camera is still strong. Director Gavin O’Connor does a brilliant job making it an existential drama and I guess his experience from his previous drama/sport Warrior (2011) helped a lot. Then, all the kids from the team deserve a round of applause as their performance is astonishing. A very well-executed film with an ultimately dramatic soundtrack.

    The Way Back took a huge hit at the box office, as every film that premiered in March 2020. And it may not be Warrior, but it definitely deserves your attention. There are Disney elements in it when it comes to the basketball team and their effort to climb to the top. But when it comes to daily waking up to an “intolerable reality”, an HBO-esque feeling knocks the walls down, revealing that there is no easy way out in real life. And, sometimes, unfortunately, there is not even a way back.

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    The Initiation (1984)

    A college student who suffers from a recurring nightmare and her sorority sisters decide to break into a mall one night while a serial killer is out for blood.

    One of the best mediocre 80s slasher, nonsensical American horrors made back then. Brilliant for American millennials to get educated on how their parents acted—and what they were wearing – during their college/University years – well, up until blood starts splattering everywhere.

    The acting is almost as funny as the haircuts; almost. The storyline is the perfect motive to stick popcorn in the microwave and put your feet up; the music and sound effects will make you laugh out loud, choking on that popcorn, and the editing will finish you off.

    Have a friend around or a couple of good ones. Share your problems, concerns, and thoughts, and when you’re done, hit play, forget our horrible reality, and enjoy just over an hour and a half of unintentional fun. I know I did.

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    The Gangster, the Cop, the Devil (2019)

    A hard-as-nails cop joins forces with a crime boss to take down a serial killer.

    Based on a true story, The Gangster, the Cop, the Devil will get your undivided attention right off the bat from the opening scene. The South Korean film school proves time and time again that no matter what genre you choose, the outcome will be fulfilling and worth every minute you spend on it. Mu-Yeol Kim and Ma Dong-Seok, as cop and gangster, respectively, develop excellent chemistry in their unlike partnership, offering a high-octane action/thriller trying to capture an unknown serial killer.

    Captivating photography, engaging editing, and brilliant character and story development. After his amazing performance in Train to Busan (2016), Ma Dong-Seok comes back, punching above his league, and emerges as a winner, stealing the show. Also, check Mu-Yeol Kim in Forgotten (2017). Both films are HIGHLY recommended.

    Now, sit back, relax, and enjoy the bloody ride.

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    Primal Rage (2018)

    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. It’s an intriguing story. It’s not very original, but it 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 is, at best, mediocre. It’s a shame to see a decent story be somewhat crashed by the 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.

    R.I.P. “Sheriff”.

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    Possession (1981)

    At the peak of the Cold War, a man returns from a mission to reunite with his family only to find that their marriage has fallen apart and that an eerie entity might be behind it.

    Possession is the art of writing, directing, editing, and acting without rules. No. Rules. It’s been at least a couple of decades since I last watched it 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 to 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 nonverbal performances like nothing they had delivered before and nothing they attempted again to this 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 haunted both Neill and Adjani, and it took 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 is 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, which is 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.

    Stay safe!

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    .

    .

    SPOILER

    .

    .

    I cannot even begin to imagine the reactions to the introduction of hentai pornography in a live-action film in the early 80s in 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!

    Happy Death Day 2U (2019)

    Once she thought she had fulfilled her purpose and closed the loop, Tree wakes 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 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 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. 

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    I Still See You (2018)

    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:

    • Teenage scenery. 
    • Emo girl.
    • 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 who come up with a theory that no one has ever thought of before or believes now, and they 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. It accompanies every single sequence as the narrative and dialogue are beyond understanding.
    • Speaking of something decent, the 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. It’s strictly for under 15s. 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.
    • Some people 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. 

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    Capone (2020)

    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…

    Four (4) different points need to be looked at rather than overlooked: The most obvious is Tom Hardy, who, no matter who he portrays, portrays them with effortless artistry. So, don’t pick up the stones yet. My next point is the A-list cast, which 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 was a zombie or vampire Capone. The problem escalates and climaxes with the fourth point, 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. If the film had a theatrical release, 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 many issues when it comes to collaborating with major studios. Chronicle (2012) is a solid proof of that.

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    Da 5 Bloods (2020)

    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 following historical footage, Da 5 Bloods promises to be yet another Lee 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-to-many weak subplots overshadow the main plot, which has one-to-many gimmicks. The discovery of gold and body 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. If you decide to watch it, enjoy Lindo, not hold back! The best parts of the film.

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    Knowing (2009)

    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 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 unfold. One of my favourite Nicolas Cage movies 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, have been beneath him. I look forward to watching something of his ’90s style soon.

    (Not)Fun fact: The film predicted BP’s oil spill in the Mexican Gulf the year after.

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    Silence (2017)

    The impending apocalypse finds a mother and her autistic daughter spending their last moments together.

    Silence is one of these short films you watch, and the first question that comes to mind is: “What is happening?”. Upon establishing that, the question that follows is: “Why is this happening?” The answer to that lies in the hands of the filmmakers and their effort to get the funding they need to turn it into a feature. Official selection at the Los Angeles Film Festival, so I keep my fingers crossed to be seen by the right people who can add a solid setup and confrontation. Something along the lines of Knowing (2009)?

    While discontinuous editing has proved to be innovative and effective in the past – see Breathless (1960) – in Silence, this is not the case. I believe, though, that the strong message, the impressive photography (observe the changes as the doom is nearing), and the great performances by both Louise Rhian Poole and Riann Mutlow will win the impressions and writer Rachael Howard, director Lee Burgess, and producer John Ninnis will come out of the festival with a signed deal that will answer the “why”. You can watch it here: https://www.youtube.com/watch?v=16Gwlb2-gw0

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    Mohamed (2001)

    In an attempt to save his life, a man enters an apartment building only to realise that his problems will only get worse.

    First critical success for the – back then – young student and writer/director Sergi Rubió, who, despite the film’s little flaws, manages to convey his message clearly. It could be an excellent third act about a young man who has struggled his whole life because… he just looks different from most people around him. About a man who has so much love to give and no one to give it to. Unfortunately, there is so much hatred to get and everyone to get it from. You can watch it here: https://www.reelhouse.org/tropicanofilms/mohamed/4743014

    Because some look like you, sound like you, or have the same religion as you, it doesn’t mean that everyone else will or has to. No one can claim this world. We might be part of it, but it’s not ours. We can equally be a scourge on this planet or a blessing. Choose the latter. Mohamed did.

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    The Vast of Night (2019)

    New Mexico, 1948: A switchboard operator detects a frequency, unlike 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. Specifically, 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 of 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 those 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 living, breathing, walking proof that we all need to stick to our dream and keep it real. Andrew, cheers for that, geezer!!! Much appreciated!

    A special bravo goes to Sierra Mccormick and Jake Horowitz for being true thespians and delivering Patterson’s dream.

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    The Unknown Woman (2006)

    A woman’s promiscuous past becomes a constant reminder in the present and a motive for every obscure step she takes.

    Giuseppe Tornatore has proved time and time again over the decades that his diversity knows no limits. I remember watching Cinema Paradiso (1988) in the theatres as a kid, and even though there was a lot I missed back then (I caught up the second and third time I watched in the years that followed), I believe it solidified the foundation of my love about cinema. The Unknown Woman, one of the three films he made in the noughties – with Malena (2000) and Baarìa (2009) being the other two – is a suspenseful, dramatic, physical but also thought-provoking mystery/thriller about the search for hope. It is about a woman driven by her past sufferings in the hopes that life will smile at her for once. Tornatore, though, doesn’t believe that the past should be left in the past. He believes it will always be part of us, no matter how hard we try to run away from it.

    Kseniya Rappoport and Clara Dossena steal the show on screen. Ennio Morricone (over the last 60 years!) fills the atmosphere with doubt with his tachycardic music, amplifying and constantly prolonging the suspense until the film’s denouement. But here’s the thing:

    “It’s not a film until it’s edited” – Michael Kahn

    Massimo Quaglia, Tornatore’s loyal editor, “stitches” the film together with artistry. The flashback’s metric montage invisibly permeates the present with extremely meticulous match cuts. Outstanding chemistry!

    Most of the time, we think we’ve had it bad in life. Guess what? While sometimes life gives us the shortest straw, to others, she gives nothing but pain. Why? Because she can. The pandemic but also the unfathomable, bottomless human buffoonery have proved, once more, that life is not to be taken for granted. Make the most of it and…

    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!

    A Case of You (2005)

    A man’s mind is playing tricks regarding when and how his relationship took a turn for the worse.

    Did you ever wake up one day asking yourself, “What happened”? Struggling to put together the where, who, why, what, and when? A Case of You is exactly that! John wakes up in his apartment one morning, and, in real-time, he wanders from room to room, trying to figure out what went wrong between him and Emily. Why is he alone? What happened?

    The one 18-minute shot is impressive. It takes a huge amount of preparation in preproduction where EVERYONE in front and behind the camera gets to know EXACTLY what they need to do when filming starts. The beauty of Jack Davie’s creation is the marriage of his directing and writing, which provides practical answers and raises existential questions. No spoonfed drama here. The mind works in mysterious and, more often than not, incomprehensible ways. Try to keep track of how John and Emily’s relationship deteriorated. It’s a non-linear jigsaw; every event, utterance, and action is part of it.

    A standing ovation goes out to writer/director Davies, actors Jamie Draven and Julia Hickman, and every crew member who made this film possible. You can watch it here: https://www.youtube.com/watch?v=8wxTj8ZBUEo

    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!

    Mummy Fell Asleep (2009)

     

    A mother and her little girl go on a picnic, but the past resurfaces, bringing nothing but pain.

    Vague yet intriguing development from writer/director John Ninnis, whose inciting incident in the first act stealthily forewarns about the second act’s conflict and intensifies the denouement’s mystery. Mummy Fell Asleep falls under the category of shorts, where filmmakers purely rely on solid script, and acting as money is not an option. And in this case, both pay off. Ninnis’ narrative reminds me of Sean Ellis’ intriguing first shorts – and brilliant later features. Speaking of, imagine a feature version where characters are fully developed, and you get to know the preexistent, obscure events that lead to breaking the camel’s back.  Proud winner of:

    • The 2010 Heart of England Film Festival: Best Short Film Internationally
    • The Irish International Film Festival: Best Short Film under 10 mins

    You can watch it here: https://www.youtube.com/watch?v=2f_EpTPexqg

    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!