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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…

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Directors and Horror Films (Podcast)

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.

Audio Player

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)

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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)

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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 (Podcast)

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.  

Audio Player

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, a pioneer in the field and an 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). The 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.

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

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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.

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

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The Wretched (2019)

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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.

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

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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

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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…

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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

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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

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Krisha (2015)

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Having seen her family in years, Krisha returns for Thanksgiving to a seemingly idyllic reunion that couldn’t be more fragile.

Krisha is perception through the legacy of the lens that Hitchcock left behind. Directing, editing, acting, music, and sound mixing split the screen in half and let you into Krisha’s internal world. You will omnisciently follow her into the house, “hack” her cerebral cortex and see and listen through her what lies beneath the surface. Feature debut for actor, writer, editor, and director Trey Edward Shults, who successfully pitched his concept to Kickstarter and adapted his own homonymous short, Krisha (2014). Ever since the wheels have been set in motion, It Comes at Night (2017) and Waves (2019) have become exceptional additions to American independent cinema.

In the first act, the tone is set from the opening shot (be it past or future). The protracted shots and the sound mixing add extra depth to the already relatable story and characters. The second act’s gradual escalation will patiently prepare the ground for what’s coming, and that is none other than an Aronofsky-esque confrontation and act three’s denouement. Watch it and make up your own mind as to what eventually happened. You can’t choose your family, they say…

Fun fact: In both the short and feature version of Krisha, Shults gathered his family members (and a couple of actors) and shot the films in his mother’s house. Yes, most of the people you see on screen are actually related.

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Uncut Gems (2019)

A New York City jeweller is constantly trying to find ways to pay off his debts while dealing with several personal issues.

Greed makes people make the worst decisions, and then they wonder why their lives seem like a bottomless flush down the toilet. This is the story of Howard Ratner (Adam Sandler), who represents the kind of people who believe that two wrongs make a right. The journey of a man who refuses to settle for what he has and is constantly going for what he could have had, always losing more and more until… well, you’ll have to watch it!

Sandler’s comeback to the big screen is remarkable – since 2015, all of his films have gone straight to Netflix. I believe that if the Academy could take him seriously, he would have been nominated, but don’t worry, Adam, we don’t take the Academy seriously anymore ourselves. Sandler has survived in the film industry for just over three decades, but he’s not going anywhere yet. Actor and rapper LaKeith Stanfield stands by his side but also opposes him, still revealing his diversity as an actor, and I, for one, look forward to seeing him in as many mainstream and/or alternative projects as possible. Last but not least, Julia Fox is as impressive as they come. Brilliant appearance on screen, no matter how you look at it.

And now the Safdie Brothers… After several shorts and the impressive Lenny Cooke (2013) and Heaven Knows What (2014), they brought to us Good Time (2017), which followed their style and made a suspenseful story, but… these… repeated… Pattinson’s close-ups couldn’t be more distracting. Robert Pattinson is a great actor, but it was just too much. So glad we didn’t get many Sandler close-ups. That said, you might find the music a bit distracting, but once you familiarise yourselves with their Safdie style of filmmaking, it will make more sense. Congrats to everyone in front and behind the camera. Just over 2 hours flew by.

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Extraction (2020)

A self-destructive, black-market mercenary signs up for a deadly mission where allies and enemies are difficult to tell apart.

I’m gonna start with the bad news: The script, unequivocally, has more holes than Swiss cheese. Something that unavoidably leads to clichés. Without wanting to decimate both the story and the plot, know what you sign up for! Two hours of standard Hollywood action narrative, seriously lacking plausibility and character depth.

Now for the good news: As a representative example of cinema of attractions, Extraction‘s mid-fighting sequence, where everyone is after Tyler and the kid, the seemingly almost 12-minute, protracted shot is brilliantly made. This type of filmmaking is challenging as hundreds or thousands of people put their magic touch to make it look as impressive. Many people get injured in front of the camera and work endlessly, day and night, behind it. What’s more, Chris Hemsworth nails his part as the tough-as-nails guy who suffers internally more than he suffers when he gets run over and shot. Sam Hargrave’s directorial debut has come a long way from a stunt double (Chris Evans as Captain America) to a stunt choreographer to here. And being produced by the Russo Brothers, I can assume that MCU is indeed… a family. I admire people like Hargrave. He reminds me of other successful stunts turned directors and producers such as Chad Stahelski, David Leitch, and Zoë Bell. It is a hopeful sign that talent and hard work pay off.

So, who is this film for? For everyone who wants to forget our deeply damaged reality, consisting of shameless hypocrites and cowards who found themselves in power – or represent it. Turn off reality for a bit and see how popcorn entertainment can serve its purpose. My heart goes out to the people suffering. But remember:

“[…] Through every dark night, there’s a bright day after that. So no matter how hard it gets, stick your chest out, keep ya head up…. and handle it.” ? Tupac Shakur

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The Art of My Scars (2016)

This is the chronicle of a girl who decides to become a transgender man, learns to express himself, and overcomes his tribulations through art.

Show me a person who claims they have no skeletons in their closet, and I’ll show you a liar. Writer/director James Land follows his fellow Devonian Kay Jane Browning, who was mocked, bullied, and beaten up as a little girl only to grow up a proud young man who transcended both genders’ limitations and became a person of his own – an artist.

It doesn’t take money to tell your story. It takes to be truthful to it. It takes to say it out loud to feel liberated. Let haters laugh at you, among others, they are only shameful, dishonest, and deceiptive. Because the rest of the world will follow you, engage with you, and give you a standing ovation for who you really are. Hats off to both James and Kay for bringing this story to the surface. You can find it here: https://www.facebook.com/TheArtofMyScars/

Watching Kay’s story, I couldn’t help but wonder: Is it our generation who’s going to put an end to discrimination? Against people who just look different than we are, against people who are physically and/or mentally attracted to whoever they choose to, against people who just happen to believe in something different than we do? Is it going to be us who’s going to make this world welcome to EVERYONE?

Show me a person who found the courage and strength to reveal their skeletons in their closet, and I’ll show you a hero.

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The Last Fare (2020)

An angry taxi driver’s last fare will make him reevaluate his own life.

Camera over the shoulder and off to a tour around the city… just until sunset. Directorial debut for Anil Bajaj, who pens the script alongside Jeff Etheridge, sits on the director’s chair and jumps straight to his cab to give one last fare. Low-budget existential drama, anchored in the essence of time, surrounded by the concepts of respect, understanding, appreciation, and the importance of knowing where we stand in this world. Surely, with a bit of extra funding, Bajaj would have unfolded a longer ride, and I, for one, would love to watch what could have been the denouement of a feature film, fully unfolding Sonny’s rage and frustration, hoping to lead to catharsis (watch and see for yourselves).

The mise-en-scène is meticulous, and the editing carefully controls the pace and rhythm. Selectively, the piano accompanies and emotionally invests in the narrative without dictating how the audience should feel. Last but definitely not least, Sherri Eakin becomes the relatable heroine and personification of loneliness that puts us in Maggie’s shoes, reassessing all the could haves, should haves, and would-haves of our lives.

Become the omniscient passenger and take the ride with them. After all, as Ithaca teaches us, the journey matters and not the destination.

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Sleep Tight (2011)

A janitor at a luxurious apartment building is hell-bent on ruining the life of a young, happy female resident.

Jaume Balagueró! The director who brought us horrors such as Darkness (2002), Fragile (2005), and [REC] (2007), this time, brings to life something neither paranormal nor gory. Pure. Psychological. Horror. Man’s most disturbing and dark side comes to the surface, which is more terrifying than any zombie or paranormal evil. The amazing Luis Tosar (César) becomes one of the most hated men you have ever seen on your screen, and the brilliant Marta Etura (Clara) is one of the most beloved girls next door. This extreme divergence will make your heart skip a lot more than a beat as you will get this constant urge to warn Clara, stop César, wake her up, get him caught… an urge to intervene somehow anyway!

Sleep Tight is not a film where you scroll down on your social media while watching, where it just plays in the background. Turn off the lights, put your phone on silent or away, enjoy some good company (including your own), and question your own safety at home.

Now… Do you like odds? I have a good one for you. As per IMDb, 10 days after Sleep Tight was released, Paramount released The Resident (2011), a film with an IDENTICAL plot and Hilary Swank and Jeffrey Dean Morgan in the leading roles. Both are exceptional actors, but The Resident is a watered-down, non-daring Hollywood version of Sleep Tight. Go for the one that does not hold any punches.

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Forgotten (2017)

Things take an unexpected turn for a family after a young man sees his older brother getting abducted and comes back days later with no memory of what happened, acting like a different person.

A narrative that only the Koreans know how to develop. Dramaturgy that knows no boundaries and is unconditionally unleashed to shock you to your core. Huge comeback from writer/director Hang-jun Jang, who seems not to take particular interest in the film industry. Regardless of the reasons, and even though it flew a bit under the radar, Forgotten is the type of film that will get your undivided attention. You cannot miss a thing; otherwise, you’ll have even more questions. Very intricate with numerous twists and turns, Forgotten does not hold any punches. It might not be Oldboy (2003), but it will definitely keep you on the edge of your seat.

The South Korean film industry (Hallyuwood, informally) is a dominant player in the market. Yes, partly because the government is heavily investing in it but also because the films produced have an impact globally. Money might open a plethora of doors, but it is the sheer talent that walks such filmmakers through them, stirring the focus once more towards the beautiful artistic side of the industry and taking it away from the ugly, scandalous one that we have all had enough with.

P.S. I didn’t know it was a Netflix film until I accidentally stumbled upon the information on IMDb – no logos in the opening or closing credits.

P.P.S. That’s for you, cuz! Thanks for the recommendation!

P.P.S. Jiyoung, if you haven’t watched it, I highly recommend it. If you have, why didn’t you tell me about it??? 🙂

Stay safe!

The Roads Not Taken (2020)

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How things are and how things could have been, happen at the same time in a man’s head, making his daughter carry the burden.

The power of independent cinema. The delivery of a beautiful yet heart-wrenching story told by relatable heroes suffering like you and me. Ella Fanning desperately tries to follow Javier Bardem’s torture, costing her more than he ever understands. With them, two brilliant actresses and women, Salma Hayek and Laura Linney, complete the ensemble, putting their final touch. The second collaboration between composer/editor/writer/director Sally Potter and Fanning after Ginger and Rosa (2012), with the former proving she is still evolving and the latter still promising a successful career.

When you get confused in the end, ask yourselves, whose story was it? That will answer whose story it became. There is also a subtle message. You never know where, when, why, or by whom you will find kindness, so be kind to everyone, regardless of how they look or sound.

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The Lodge (2019)

Two children are snowed in at a remote lodge with their soon-to-be stepmom, whose dark past resurfaces when strange occurrences start happening.

Where did that come from?! The Lodge skipped the radars and, out of the blue, appeared to catch you off guard and restore your faith in the horror genre. The first act’s inciting incident will move the story forward by taking your breath away (I wish I could tell you more). The claustrophobic mise-en-scène will give you no choice but to get trapped in the lodge with them. No cheap jump scares here. Just pure psychological horror! A must-watch for every horror fan!

The amazing Riley Keough has exceptional chemistry with Jaeden Martell and Lia McHugh, delivering bone-chilling performances. I just wish Alicia Silverstone had more screen time. A huge round of applause goes also to writer Sergio Casci and writers/directors Severin Fiala and Veronika Franz, who brought us the shocking horror Goodnight Mommy (2014).

Gary, mate… you’re gonna love this one!

Ioanna mou, I wish I was there to watch it with you.

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Epic Plot Holes in Iconic Films

Introduction
Hollywood… From micro-budget to blockbuster films, Hollywood is responsible for critically and financially acclaimed successes and unprecedentedly epic failures simultaneously. For better or for worse, film reviews play a significant role in that, but the films’ marketing also shares responsibility. No other factor is more responsible, though, than the story. If the story is hard to believe, does not make sense, or the plot holes are so obvious, the film is usually doomed to fail. So, when does it not fail, then? When the story is so good, the directing, editing, photography, visuals and sound work like a Swiss watch and manage to overshadow these plot holes. Below are some examples of critical and financial successes with plot holes that the audience – consciously or unconsciously – didn’t take into consideration. At least at first… Please keep in mind that the article gives away important plot points, so read after watching the below-mentioned films.

Pointing Out the Elephant in the Room(?)
Looper (2012)
In a dystopian future, crime mobs send people to the past to be killed and disposed of by loopers, a system that will prove problematic when a looper encounters his future self.

Rian Johnson, the talented writer/director behind Brick (2005), Star Wars: Episode VIII – The Last Jedi (2017), Knives Out (2019), and more, brought to us a sci-fi full of time travel, time paradox, assassins, telekinetic mutation, an A-list cast, and a hell lot of action. The acting is amazing, Joseph Gordon-Levitt nails it as a young Bruce Willis, Bruce Willis couldn’t be more Bruce Willis, and Emily Blunt, Piper Perabo, Noah Segan, Paul Dano, and Jeff Daniels add to the film’s quality. Then, the visual effects are gripping, the mise-en-scène showcases extraordinary photography, and the continuity in editing will make you rewind now and then to reveal the invisible cuts. So, why is it on the list?

The story is absolutely fascinating and will keep you at the edge of your seats, but…, since time travel has been invented, and there is no mention of geographical or time restrictions, they could have been sent thousands of years back, before civilisation began, where they wouldn’t have been able to communicate with anyone or alter history in any way. Alternatively, they could send them back anywhere in time, over an erupting volcano, for example, and that would be the end of it.

When it comes to time travel, anything can be seen as problematic or faulty as the different scientific schools of thought and the numerous representations of it preceding Looper can give infinite ‘yes but’ moments – especially with the paradoxical ending. The aforementioned, though, is the one standing out the most.

The Matrix Trilogy (1999 – 2003)
A hacker realises that the world he lives in is an illusion and sets out to destroy whatever is controlling it.

I think I speak on behalf of most of us when I say that it took us a while to process all the facts when The Matrix came out. When the second was released, things got more manageable, and once we thought it was a walk in the park with the third one, the Architect’s monologue fried a significant amount of our brain cells. The problem starts with the fact that the studio altered the script in order not to confuse the audience – go figure! Yes, the machines could have picked animals for the power source, not humans, but this is not where the problem lies.

In a nutshell, the initially submitted script detailed how the machines were processing the human brain to advance themselves further, which would create the perfect irony because Neo used the machines to advance himself and started controlling the matrix. Anyhow, the franchise makes the list because, throughout the three films, it fails to explain how the war started and why and how mankind became the machines’ slaves. It took The Animatrix (2003) to provide the necessary explanations, and here’s my argument: If you need a different medium, post-finale, to fill the gaps, it means that it proves that there had been holes to begin with.

Suicide Squad (2016)
A shadowy government organisation secretly forms a squad of supervillains to send them on… suicide missions.

As this article doesn’t focus on indifferent characters or nonsensical storylines, I will just tackle the obvious. The Suicide Squad – in the film – was formed just in case Superman became villainous. The major question comes from Dexter Tolliver: ‘What if Superman had decided to fly down, rip off the roof of the White House and grab the President of the United States right out of the Oval Office? Who would’ve stopped him?’

Answer: None of them! They would have rightfully earned their squad’s name. Superman wouldn’t fight them, he wouldn’t wipe the floor with them; he would have annihilated them before they managed to put up any line of defence (much less offence) faster than I am moving on to the next film.

Independence Day (1996)
Colossal U.F.O.s appear in the skies all over the world, and when they attack, mankind’s unity and will to survive is put to the test against advanced alien technology.

The poster child of the modern Hollywood blockbuster! Roland Emmerich’s suspenseful narrational build-up, the state-of-the-art visual effects, and Will Smith, Jeff Goldblum, and Bill Pullman offer a spectacle that leaves no margin for digging into details.

Twenty-four years later, I guess it’s safe to ask how on Earth any scientist could know what kind of virus to develop and how that compatibility – assuming that there is one – would yield the desired results/crash mankind so desperately needed. It is not the time or place to discuss the Pax Americana tone or Emmerich’s unrealistic view of the world. When one goes to the movies to watch his films, one should know that they signed up for a cinema of attractions, not vérité. Creating a virus against hyper-advanced alien technology no one would have thought existed, though, is more far-fetched than Randy Quaid portraying the hero.

Signs (2002)
When mysteriously shaped crop circles appear on a family farm, two brothers realise something more sinister has yet to arrive.

M. Night Shyamalan, one of the hottest and coldest modern Hollywood directors, came back with yet another hit following the successes of The Sixth Sense (1999) and Unbreakable (2000). Signs has one of the most ‘Shyamalan build-ups’ with a suspenseful plot and an equally dramatic subplot. It is unfortunate, though, that both the suspense and the drama ‘disappear’ once the aliens crawl down that chimney, and it fades to black. If you have watched it you probably know what I mean, if not you probably will when you do. However, Signs didn’t make the list because of Shyamalan’s creative choices.

The aliens, the intelligent beings that reached our world with their advanced technology, decided to go to Earth, a 71% water-covered planet. Fact: Water to them is deadly! An equivalent would be for mankind to go to a planet full of active volcanoes. Why? Why not terraform a planet with no ‘sign’ of water? The only explanation I could give was that they were malicious and all they wanted to do was to harm us. Well, if that were the case, then infiltrating one house at a time is probably a worse strategy than choosing Earth to begin with…

Oh! Did I mention that the protagonist’s dying wife was getting premonitions? Were these the actual signs?

War of the Worlds (2005)
A family fights for survival when, without any warning, gigantic alien tripods emerge from the Earth and attack with the intent to annihilate it.

Yes, aliens again. But… sci-fi as only Spielberg’s lens can capture and narrate. It is a horrific depiction of what could potentially happen should aliens attack the Earth. A suspenseful narrative that only Steven Spielberg and his lifelong editor, Michael Kahn, can build up for the whole family – with the youngest member being 12 – only to scar(e) them all. The film’s flaw is similar to the one in Signs, and even though it’s not as obvious, it is equally severe.

The aliens, who arrived on Earth way before civilisation was created and studied us and our planet very thoroughly, failed to spot the deadly-to-them germs. Now, if a planet’s atmosphere is not the first thing they should have meticulously examined while watching us for thousands of years and even before they made any move against us, I don’t know what is. I would like to be a tad lenient on this one, though, as it has an important mitigating factor. And that is none other than the era in which H. G. Wells wrote it. And it is the same factor that I will use for…

Basic Instinct (1992)
A mysterious murder will make a hard-as-nails detective turn his attention to a mesmerising and manipulative established author.

Diverse, controversial, and either ‘love or loathe’ director Paul Verhoeven is responsible for one of the best erotic thrillers made to date. Sharon Stone became the poster child for femme fatale that men, women, and non-binary people have imprinted in their minds, and the editing unfolds the clues exactly when the audience needs to know them. And even though the story is dark, twisted, and nail-biting, it unfortunately has a fundamental flaw in the very beginning.

During the sex scene, while the icepick attack takes place, ALL of her DNA is left in that room. The crime should have been resolved within hours. Of course, Basic Instinct was released in 1992 and having been written a few years before that, it only leaves a few years margin between the script and the first DNA profiling which was used in 1986. It only makes sense that writer Joe Eszterhas didn’t know much (or anything) about it and the audience nothing at all. Therefore, the ‘fundamental flaw’ does not face the ‘Spanish Inquisition’ and gets away with… what was the flaw again…

Blade Runner (1982)
In the distant future, where the technology to build human replicants exists, a blade runner is tasked with locating and terminating those who pose a threat to their creator.

Ridley Scott directs Harrison Ford vs Rutger Hauer in a dystopic, cyberpunk future. What can possibly go wrong, right? Nothing really. Every version/cut released to this day reveals how diachronic and relevant Blade Runner still is. Should you get to choose, though, go for the latest director’s cut. So, how does it make the list, right? Stealthy!

The advanced technology possessed in the future cannot tell a replicant from an actual human being unless they go through a psychological evaluation. Even though it is not very comprehensive how the company making them wouldn’t use a distinctive feature, it can still be acceptable. But the company not possessing the technology and/or ANY other physiological means to tell the difference between the two is highly improbable.

Home Alone (1990)
An extended family decides to go on holiday during the Christmas period, accidentally leaving behind its youngest member, who must then protect the house from… vicious burglars.

I was between writing about Home Alone and Rocky V (1990) – same year – the latter wherein Rocky returns from Russia straight after the fight and his son is ten years older – at least! Then, I figured that lazy writing isn’t a plot hole, it’s just… lazy writing. Therefore, I chose the highly entertaining Home Alone where no parent or kid ever wondered, at the time why Kevin’s parents never called home or asked the police to go by the house and red-flag the incident. Other than the obvious answer that we wouldn’t be having a movie, the story is so ‘Christmassy’ and family-orientated that no one would want that anyway.

Raiders of the Lost Ark (1981)
The U.S. government hires an archaeologist to stop the Nazis from acquiring the Ark of the Covenant and using it as a weapon against the rest of the world.

Turning the tables, I left Raiders of the Lost Ark for the end only to dispute the plot hole raised in The Big Bang Theory‘s (2007 – 2019) episode The Raiders Minimization. Amy ‘ruins’ the film for Sheldon when she mentions that Indy makes no difference to the film whatsoever and everything would have happened anyway whether he was in it or not.

This couldn’t be further from the truth, and even if it were, it would be beside the point anyway. Here are the main counterarguments:

  • Unwillingly, Indy led the Germans to the staff of Ra’s headpiece, which they failed to obtain.
  • The Well of the Souls may never have been found if Indy had not discovered it, but, unwillingly again, he led them to it. As the audience, we would never know.
  • On the island, the Nazis opened the Ark to test it as a weapon, something that led to their demise.

So, if Indy was not there, the Nazis may or may not have:
– Found the headpiece.
– Discovered the Well of Souls.
– Obtained the Ark, which, if it was later in time, would probably be taken straight to Berlin, stuck in a lab, and potentially put under control.

Regardless, The Big Bang Theory either showed a lack of understanding of the film’s narrative or wanted to provoke fans and get higher ratings. Why? Think of Ben-Hur (1959). The Jewish prince who gets enslaved, regains his freedom, and returns with vengeance. What change in history did he make or cause to happen? None! Because that’s not what the story is about. It is about ‘the hero’s journey’ and how an unknown fictional character witnesses, and we do through his eyes as if we were there as well, the well-known historical events.

Conclusion
I don’t think I’ve ever used the word ‘but’ more times in my life. But there is a solid reason behind it. Cinema is escapism. One goes to the movies to escape from their own reality for, averagely, a couple of hours (especially our current, abhorrent one). Mark Twain said, ‘Never let the truth get in the way of a good story’. For anyone interested in factual truth, the closest genre of cinema is documentary. For everything else, even ‘based on a true story’, ‘based on actual events’, biopics, docudramas, etc., spend that time wisely and enjoy the good story. If by any chance the story is not so good, fair enough. Off to the next one. The world of cinema is vast, with hidden gems everywhere you look. Try to figure out the kind of world you want to enter, sit back, relax, and enjoy your journey.

Thanks for reading!

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The Hidden Face (2011)

Strange occurrences start happening when an orchestra conductor decides to move on with his life after his girlfriend ostensibly split up with him and suddenly disappeared.

Before I start saying anything, I want you to know that I was sceptical for the first half-hour, but my scepticism faded away past the first act.

It’s been years since I wanted to watch it, and I’m glad I finally have the time. I’ll start with the shockingly convincing acting. Excellent job by all actors and actresses who convey the drama, the thrill and the horror portrayed, especially Clara Lago. Director Andrés Baiz handles the story cautiously through a very restricted narrative, so he doesn’t reveal the inciting incident until the time is right. When he does, he makes sure that, through editing, all information is very tightly revealed regarding what is about to happen. Of course, the round of applause starts with Hatem Khraiche’s suspenseful story.

If you are wondering why I was sceptical at the beginning of the film, I will only say that if past events are integral to the story and will be revealed to us anyway, we are accustomed to flashbacks as opposed to getting the whole story at once and distract us from the main plot. Only later on, it made sense from the editing’s point of view. It might sound as incoherent as a sentence now, but please watch it – without knowing anything – and think about it.

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Angel of Mine (2019)

Years after losing her daughter in a fire, a woman’s mental state takes a turn for the worse when she starts thinking that she is still alive.

Have you ever started watching a film without knowing anything about it other than that something, down the line, somewhere, is going to really go sideways, and you just don’t know what that is?

Well, Angel of Mine happens to be one of them. A constant agony of what Lizzie (Noomi Rapace) is gonna totally screw up to the highest degree. The film’s success relies on that, and it achieves it. Part of the reason is that kids are involved, and part of it is because adults like her are involved.

As the slow burn escalates, while nothing really substantial happens, you won’t stop wondering how far is she gonna take it?! And then it’s the ending… but I’m gonna leave that up to you. My only comment is that Fatal Attraction (1987) was that successful because of that kind of escalation; that climax. Congratulations to Noomi Rapace and Yvonne Strahovski for their remarkable performances.

Over the years, I have convinced myself that a film should not have a single mood from the beginning to the end. Angel of Mine is unsettling and dead creepy throughout. And even though that’s not a plus, the abyss of the human mind, the vastness of its capabilities, the infinite goodness, but also its unfathomable limits to cause pain in any shape or form can be terrifying.

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The Corridor (2010)

A group of friends gathers to spend a typical “cabin in the woods” weekend in a remote area, but they discover a phenomenon that will make them descend into paranoia.

Film Industry: One of the most rewarding yet inconsistent industries out there. See director Evan Kelly, for example. After directing The Corridor, his feature debut, he vanished. And the film did actually well. So, why? Shame, whatever the reason may be.

About the film now… It is just over an hour and a half Canadian, indie, low-budget, slow-burn thriller, which takes half of that time to kick in. Something that begs the question, how much patience do you have? If you do have it and watch past the pleasantries at the bonding part, it becomes realistically suspenseful. Everyone reacts to “the corridor” the way you and I potentially would have. Until paranoia takes over!

You will not encounter any Hollywood conventions here, which increases the unpredictability and, consequently, the suspense. The acting, though, does not favour the film, and, in the end, it looks like the script is losing track of how it started or where it wanted to go. Unfortunately, the photography doesn’t help much either, whereas the editing is doing its best to stitch it together.

I know… I started by praising it, and then my review went down the hill. I liked the story, but the script and the film’s development in the production stage came out much poorer than it was probably intended for in the preproduction stage. So, is it worth your time? I’m not saying you will definitely like it, but if you are up for a different cinematic rhythm that is cliche-free, then this might be the one you are looking for. Or not. I, for one, am glad I gave it a chance despite its flaws.

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Castle Freak (1995)

After inheriting a castle in Italy, a man moves there with his family to start anew, only to face unimaginable horrors created by an eerie and sinister presence.

Fancy watching a loosely-based-on-a-Lovecraft’s-short-story-B-movie? And by B-movie, I mean following-all-the-80s-conventions-kitschy-as-hell! Damn, that film took me back years… Castle Freak is exactly what you would and should expect from the poster above. Yes, it is that enjoyable, and it’ll take you down memory lane or will introduce you to the ’80s and early ’90s horror era when plotholes did not matter and meant nothing. The third collaboration between writer/director Stuart Gordon and actors Jeffrey Combs and Barbara Crampton after Re-animator (1985), proving how well they perform together in front and behind the camera – all three based on Lovecraft’s stories. Crampton is a veteran of Lovecraftian adaptations and, consequently, one of my favourite actresses.

It is definitely not the best adaptation – I’ve elaborated extensively on that issue – but you may as well just watch it as a standalone. It will definitely take your mind off things and… horrifically entertain you.

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Sea Fever (2019)

A doctoral student joins the crew of a trawler that encounters an unknown species which infects their water supply.

The photography is the first thing that will get your attention. Dark, with a claustrophobic mise-en-scène, it will captivate you and “trap” you in that trawler and “force” you to take the journey with the crew. The editing’s brilliant match cuts connect very interesting visuals that move the story forward, keeping only what is necessary and leading you to the third act’s suspenseful denouement. Hermione Corfield is the right choice for the awkward, antisocial doctoral student whose acting adds extra believability to the film’s scientific yet realistic horror. The rest of the cast also deserves a massive “BRAVO” as they make their respective roles utterly relatable. Writer/director Neasa Hardiman brings to life an excellent Irish horror/sci-fi, and I, for one, look forward to watching more of her future endeavours.

Yes, you’ve probably seen films like Ghost Ship (1980), Virus (1999), or Triangle (2009), but Sea Fever has its own story to tell, and it’s highly recommended. It escapes (mostly) the Hollywood standards and cliches in character and story development and creates an intriguing premise that will keep you on the edge of your seats.

Unfortunately, our dramatic and devastating reality makes Sea Fever very timely and adds even further realism to its horrific theme and our even more horrific reality.

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Fantasy Island (2020)

An island with the power to grant your greatest wish welcomes a group of people who have no idea what they signed up for.

I’ll start with the good news: I didn’t know what to expect, so you would never guess… I had no expectations! Now, for the opposite of good news: The amazing story behind Fantasy Island is inundated with nothing but American cliches that ruin the aforementioned amazing story.

The American cliches include but are not limited to, stereotypical characters, stereotypical punchlines, stereotypical resolutions and revelations, and stereotypical editing and redirecting. Hands down, the dramatic fantasy that stands out is Maggie Q’s (Gwen), a brilliant actress and an astonishing woman. But the genres are too mixed, and so are the viewers’ feelings towards everything that’s happening. It is not a disservice to the Fantasy Island (1977) series, but it has nothing much to do with it either. If you want to watch a great blend of such genres, The Cabin in the Woods (2011) is what you need to watch!

A real shame as Fantasy Island stresses two important facts of life:

  • Careful what you wish for!
  • Your so-called liberties in life have a limit; where your fellow human beings’ begin…

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Dagon (2001)

After their boat sinks, a young couple finds refuge in a decadent Spanish fishing town with half-human dwellers and an ancient deity waiting to rise again.

It’s been months that I wanted to write about Dagon. I first watched it on VHS in 2001 and was left in awe. Throughout the years, I forgot a lot about it, though, and moved on. Part of the reason is that I wasn’t the avid admirer of H.P. Lovecraft that I am now. Another reason is that I didn’t “read” films like I do now. The beloved writer, producer, and director Stuart Gordon sadly passed away in March. Gordon was a loyal Lovecraft fan who honoured him with films such as this one, Reanimator (1985) and Castle Freak (1995).

Ezra Godden and Raquel Meroño make a brilliant on-screen couple and I for one, I can’t hide my admiration for Raquel. Also, the last film of Francisco Rabal. The location is eerie, the story is thrilling, and the plot is horrifying. Good, old-fashioned storytelling that makes Dagon a smashing adaptation of “The Shadow Over Innsmouth”. There is only one downside: The visual effects. Unfortunately, there are sequences that VFX will put you off, especially if you watch it for the first time now. My advice is just to turn a blind eye. It’s been almost 20 years, and it is a low-budget film. Let this one slide and get a small taste of Lovecraft’s petrifying mixture of “dream and reality”. I believe I have watched every H.P. Lovecraft adaptation to date. Beside Dagon, my top 3 are:

  1. In the Mouth of Madness (1994)
  2. Color out of Space (2019)
  3. The Lighthouse (2019): (very loosely / inspired by)

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