A demonic possession will challenge a nun’s faith, but also her promiscuous past.
Decent concept, but too formulaic. Right off the bat, both photography and acting promise a good scare. Then the statistics show up, and I pause for a minute to research if they are accurate. They aren’t. As Hollywood tends to do, it just bends truths and facts, to confuse the audience, so they don’t know what’s real and what isn’t. Great narrative technique, but not when presented as “facts”. Come on…
Regardless, the suspense and the thrill work quite well for the most part, it is the horror that doesn’t and the first exorcism cannot hide that. Certain Hollywood producers cannot escape the formulaic and the cliché. They will use, for instance, jump scares – which is only a tool – over and over only because the scripts they are handling are grasping at straws. Remember, “flashy” editing, rhythmic, and metric montages can only do so much to advance the story. The same applies to visual effects. The story needs to flow convincingly on its own.
Robert Zappia’s script tries hard to become innovative, but it doesn’t do well. On the other hand, Daniel Stamm, the experienced director behind the gritty 13 Sins (2014), and The Last Exorcism (2014) seems to have his hands tight up. Lionsgate used to be ahead of its game, but not for years. They just love, as said above, the formulaic and the cliché. Jacqueline Byers (Ann) is a great actress, but a victim of a narrative that is doomed to fail.
You know what I would like as an audience? Pseudo-realism! No soppy montages, no jump cuts, and no demons who do whatever the poor narrative demands them to do just to make it to the end credits. I would like a suspense build-up that leads to a balanced drama/horror narrative, addressed to people that I can relate to. And all that, accompanied by filmmaking techniques that will not constantly remind me that this is a film, especially a Hollywood one. Both 13 Sins and The Last Exorcism do that. How can I properly relate to these characters? Once again, everyone could have been an underwear model. It’s like, literally, all Calvin Klein models quit and decided to become members of the clergy.
Wait for the sequel of The Exorcist (2023) around Halloween time. Hopefully, that will blow our socks off.
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Wanting to bring her son to America, a Senegalese woman becomes a nanny for a wealthy family while her mind plays horrific tricks on her.
Well-acted, but awfully problematic. It took me a few minutes to figure out what was not sitting well with Nanny. So, keep in mind that it is predominantly a drama and not a horror. Therefore, you may agree that the dramatic plot should be supported by a horrific subplot. Well, it does that much, so the question is, does it in an appealing manner? In a way that hooks you?
Aisha is an overly relatable character, especially for those who know about migration, and Anna Diop absolutely nails her part, adding to the drama that slowly and painfully unfolds. Hence, her story starts from sad only to end up… well, you’ll see. But the snippets of horror don’t add up as they find it difficult to place themselves in the story. The constant use of eerie music when they try to do so is their only way of infiltrating, and writer/director Nikyatu Jusu feels the need to have an “in-your-face” approach. That becomes a direct contradiction because what is happening to Aisha lurks under the surface and the filmmaking techniques that are meant to subliminally deliver her uneasiness couldn’t make it more obvious as if you otherwise wouldn’t get it. You would. And you will probably figure out from the very beginning what the drama is about. In psychological dramas, thrillers, and horrors the action is divided between on and off-screen, carefully chosen by the director what is happening where. Jusu places everything on-screen, projecting confusion rather than mystery, and the plot and subplot become indistinguishable.
Jusu’s strong suit is the use of Diop’s incredible acting skills, and, consequently, she solely becomes the reason to watch it. The film itself, unfortunately, till the very end, fails to decide what it wants to make you feel. Needless to say that the ending is a narratological mess that claims a “fatality” victory over the already visually wounded audience. Shame, really…
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Upon invitation, a group of elitists travels to an isolated island where the chef has prepared a menu beyond anyone’s imagination.
Spicy, sweet & sour, and easy to digest! Right-o… let’s start with the basics! If cooking is your fetish and you are familiar with posh recipes, you will engage quickly. If, on the other hand, you are as irrelevant as I am about fancy foods and restaurants and you quickly make pasta for three days just before you rush to work, then you’ll just find it funny, and meaningless, and you will only empathise with Margot (Anya Taylor-Joy) – and you won’t even know half of it. But brace yourselves, that is until course number… I am not telling you. This is where it gets interesting for both parties; the relevant and the irrelevant ones. The comedy and the mystery start blending in, and shocking revelations will glue you to your seats. The chef’s dark surrealistic psychopathy moves the story forward in an entirely unexpected direction. As further disclosures about the… menu will not be made, all you need to know is that surprises, pleasant or otherwise, do not stop till the very end.
Anyway, the narrative is deep, intricate, and twisted. See, for example, the “Tantalus” name. Read about the myth and connect the dots appropriately. I’m sure there are connections between the chef’s menu and the haves and have-nots, but the food industry is not my specialty. Also, look out for the themes of idolisation and fanaticism and connect them to the innumerable people who watch shows like Gordon Ramsay’s. That will explain Tyler (Nicholas Hoult), but also the sous chefs’ behaviour and decisions.
Highly recommended to all fans who love the marriage between comedy and horror – and great acting.
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P.S. Will Ferrell is one of the producers.
P.P.S. John Leguizamo’s character is based on… Steven Seagal!
P.P.S. Why do you think producers keep hiring British actors to portray Americans? Interesting…
It seems that after every spectacular and exciting Indiana Jones, a somewhat dull or let-down follows. Indiana Jones and the Dial of Destiny (2023) will be the former. While the plot is fairly unknown, the prediction does not derive only from the film’s trailer which is nostalgic and thrilling, but also from certain undeniable parameters.
Having left the ‘monster’ films behind him, it is known that Steven Spielberg won’t be sitting in the director’s chair this time and George Lucas will not be getting involved at all with the script. Fear not though as James Mangold is! The director behind films such as Copland (1997), Girl, Interrupted (1999), the incredibly underrated Identity (2003), and one of the best superhero adaptations Logan (2017) takes over, taking with him his Ford v Ferrari (2019) writers, Jez and John-Henry Butterworth. Furthermore, the one and only John Williams will compose for the last time the film’s score.
Though we don’t know yet who’s the foe and who’s the ally, the immensely diverse Mads Mikkelsen, Antonio Banderas, Phoebe Waller-Bridge, John Rhys-Davies (yes, he’s back), Boyd Holbrook, Toby Jones, Thomas Kretschmann, and more, will join Indy in what could be his last adventure against the unknown – at least with Harrison Ford. It’s an incredible cast that, be it Nazis, divine judgment, aliens, or anything else will support him or plot against him throughout this journey.
Indiana Jones 5 expands the franchise once more 42 years after the Raider of the Lost Ark (1981), which would have been a round 40 if the pandemic hadn’t changed the world the way it did. So, what does that mean for the hero’s journey now? As briefly mentioned above, Indy has been against numerous known and unknown forces that always came in twos. After Nazis and the Ark of the Covenant, the Thuggee cult and the mystical stones, Nazis and the Holy Grail, and Soviets and Alien artifacts, it only remains to be seen who Indy is going to go against in 1960s America. What human and non-human forces will be combined to add to Professor Jones’ experiences? How will his nostalgic self react to the new extraordinary stimuli presented? What will this adventure mean for his character arc? What does the future hold for one of the longest-running franchises?
Indiana Jones and the Dial of Destiny promises to give a fresh perspective to one of the most beloved heroes of all time. It promises laughter, nostalgia, and action for the whole family with a new cast and crew, but still under the watchful eye of Steven Spielberg and George Lucas who will act as producers and still with Harrison Ford as the titular hero. Spielberg and Lucas created a universe where the mystical and the realistic co-exist, bringing to life from biblical theories to extraterrestrial conspiracies. On June 30, buy your popcorn and soda, get comfy, and let the Dial of Destiny guide you to the unfamiliar and the unexpected…
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A man’s obsession to find out why his best friend suddenly stopped talking to him spirals gradually out of control.
Funny, sad, nostalgic, and kinda heart-wrenching. Perfectly balanced, the drama goes hand in hand with the (dark) comedy in a small gossiping Irish society during yet another nasty civil war. The themes of hopelessness and helplessness prevail, characterising the two main heroes, Pádraic (Colin Farrell) and Colm (Brendan Gleeson), leaving still some room though for the ostensibly inescapable loneliness that tortures Siobhán (Kerry Condon). The underdog of the entourage though, the one that gets life’s shortest straw, is no other than Dominic (Barry Keoghan). What, I believe, in this instance, writer/director’s Martin McDonagh brilliance is, is that all the characters above are experienced through the eyes of the villagers and each others’ (comedy), but also through their own eyes when they are alone and no one is watching (drama) and the striking difference and inevitable clash between the two can be experienced by the audience.
You may have heard of character-driven vs story-driven films; films that are driven by the actions of the characters vs films that are driven by events that set the cogs in motion, respectively. Upon explaining that difference to numerous people who watched it, I asked and everyone told me that The Banshees of Inisherin is a character-driven story because the heroes’ actions escalate the situation and move the story forward. While I agree with that, I will note that the story taking place, profusely, in April 1923, towards the end of that civil war, is not a coincidence. Therefore, I argue that it is a story-driven narrative and it is the war (and, maybe, the wars before it) that has mentally affected everyone the way it has. Not long after the film starts, Pádraic walks along the shore and turns around abruptly when he hears the bombings coming from the mainland. McDonagh stays on him, looking in that direction until he says: “Good luck to ye. Whatever it is you’re fightin’ about…” In its simplicity, this couldn’t be more heartbreaking. He doesn’t know who to say good luck to and he doesn’t know why either. He only knows how he feels about seeing his fellow countrymen kill one another. Respectively, everyone copes with that atrocity in their own secret or more obvious way. And Pádraic, the once optimistic and cheerful chap, gradually… well, you’ll see…
More often than not, I examine the way the filmmaking techniques interact with the film’s narrative, but then there are times that I just let it go. This will be one of them. I’ll tell you this, though: Expect a brilliant soundtrack, astonishing photography, tear-jerking acting, and a thought-provoking journey that will make you laugh as much as it will bring tears to your eyes.
As per McDonagh, “there was no other way for the story to end”. I’m sure there are people who agree as much as there are people who couldn’t agree less. The fact that he makes all of us contemplate it, agree, disagree, or even create our own endings in our heads shows how powerful his story is. An absolute must-watch!
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Solidarity for Ukraine 🇺🇦 🙏
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P.S. It already has and will keep rightfully claiming every award under the sun.
A group of unorthodox people does everything in their power to stop an ancient creature from making it to Oslo.
Hollywood-style action/adventure that excites as much as it divides. The solid first act is the exciting part. Firstly, the child’s perspective plants the seed of faith, then the rapid editing builds up suspensefully the faith, and then the faith turns into a nightmare. Everyone’s disbelief, and the destruction the troll leaves in its path, but not its actual appearance, increase the suspense and maintain your attention until it actually appears and until the military operation against it begins. Somewhere there, the subplot surfaces, the troll becomes the reason the damaged father/daughter relationship gets a second chance, you get sucked into it, and then you remember that, oh yeah, there is a troll strolling somewhere.
The Norwegian military operation is blatantly stupid and doomed to fail as any Hollywood military operation is and everyone knows it beforehand. At least, it’s well-shot and edited so it will keep you glued. Unfortunately, but predictably, the same military bottomless buffoonery is infinitely amplified in the end, and one can only hope that the alternative will work. Every time I see these kinds of military operations, I get the feeling that there is an underlying message, something along the lines of ‘Hey! If that was not a mythical creature/alien/Jaeger/god/whatever, we would have kicked his a$$’ – a hint towards whatever country’s real-life potential enemies.
Anyway, without elaborating further, Roar Uthaug’s Troll is enjoyable. If you can overlook the Hollywood-style filming, and the rudimentary story and character development, the visuals are great, the audio is superb, the acting is conviencing, and the photography is effective. Above all, though, it is beautifully edited. Christoffer Heie and Jens Peder Hertzberg’s editing is what makes it so good despite the aforementioned flaws.
Enjoy it without over-thinking about it and you’ll be all right.
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A family that constantly disagrees on every aspect of life has to escape a major catastrophe, something that will deepen their existential views even more.
Between Film studies that specialise in car crashes and Hitler studies that specialise in… well… Hitler, there is this family that doesn’t stop talking. Men, women, and children alike sound and act as if they came out of Shakespeare’s play or human testing for a new drug. No one speaks or behaves… naturally. Think of it as three unrelated or totally disjoined parts (at best) of the same theatrical that relies heavily on rhythmic montage sequences to match the film’s frenetic and unstoppable verbal diarrhea.
Without getting into too much detail, the comedic part is not comedic enough – maybe, sporadically humorous or caustic. You won’t find yourselves laughingover anything, really. The part that is meant to be dramatic is not really dramatic because of the head-scratching roots that cause the drama. Finally, the horror part comes late(r) to the party, but, even then, it doesn’t stay long, really. Everyone over-philosophising everything through never-ending verbosity leaves no room for processing all this information, and, consequently, developing the intended emotions. Other than that, it doesn’t really know what kind of film it wants to be and its focus is all over the place. Take, for example, the camp Daffodil exodus. Similar sequences of evacuation have been in the past a living nightmare for everyone experiencing catastrophic events, including the empathising audience. Now, compare that sequence to any of the escaping sequences of the War of the Worlds (2005). Any. Escaping. Sequence. The comparison’s outcome leads to parody, and so do these disconnected points of view on literally everything and nothing. Is this what writer/director Noah Baumbach aimed to do? A parody of the American family? A parody of American society? Is that what that pointless musical, in the end, is (not spoiling it, don’t worry)?
Think about it, what happens after the cloud is gone till the end of the film? Nothing. Nothing for absolutely no reason. While I haven’t read Don DeLillo’s novel, solely focusing on the film, leaving the survival mode of the second part behind, all you get in the third part is lyrical nothingness. Who was meant to be the target audience, in other words, who was meant to like it? Horror fans? Nope! People, who need a good laugh? Nope! Fans of existentialism (is there such an audience)? If I were to characterise it in one sentence, I would say that it is an exceptionally well-shot and well-acted bewilderment. Congrats to Adam Driver, Greta Gerwig, Don Cheadle, and the rest of the cast who act so great for whatever reason.
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Pearl unleashes her dark side when she realises that her dream to become a star is crushed by the reality that she’ll get stuck on a farm.
Pearl starts off with antithetical notions. The extremely colourful scenery, the soundtrack’s joyful orchestra, the dream to become a movie star one day, and everything a classic Hollywood comedy/drama/romance represented in the early 20th century, such as The Wizard of Oz (1939), is offered to you in a slasher horror of today, a prequel of a bloodbath that only takes place in that era. So, what do you think is going to happen?
I have already spoken about X: https://kaygazpro.com/2022/04/29/x-2022-horror/. The film seems to have been ridiculously edited on purpose (to resemble the 70s?) and still made, arguably, last year’s best horror film. While such editing was not spotted in Pearl, what couldn’t be missed was the prolonged build-up; the reason why Pearl became the psychopathic murderer she is in X. While it is considerably less eventful than X, Mia Goth (also producer) steals the show. She absolutely nails her part. Not only with her brilliant 8-minute monologue, but throughout all three acts. She’s absolutely magnificent and producer, writer, and director Ti West sees it and pictures her as the star her character always dreamt of being.
Now, bear in mind that the script of Pearl had already been written before the filming of X started, and both films are produced by A24. If I’ve said it once, I’ve said it a thousand times: The people in charge of A24 know what they are doing. They are ahead of the game and their vision is the new breath Hollywood needed. Think of them as the new HBO. They filmed two related horrors simultaneously, knowing beforehand that both they’ll be successful. Again… vision!
In a twisted and deranged manner, Pearl manipulates the early “Hollywoodland’s” dreamworld, visually sodomises it, and turns it into a nightmare! An absolute joy for every horror fan out there. And none of it would be possible if, other than Goth, David Corenswet, Tandi Wright, Matthew Sunderland, and Emma Jenkins-Purro didn’t give their 100% with their remarkable performances.
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Solidarity for Ukraine 🇺🇦 🙏
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P.S. As per IMDb, Tandi Wright learned how to speak German only for her role – she even fooled two German members of the crew.
P.P.S. To the specific online fan clubs: Before I found out about you, I thought of the same thing myself! You have my vote! To whoever studio mogul explores the idea of making a female version of Joker or a similarly twisted character, look no further! Mia Goth is here!
Childhood friends, now in relationships or with their families, gather on Christmas day to spend their last moments together.
Funny-ish and somewhat emotional. Diverse and incompatible couples, inundated with animosity towards one another, meeting up on Christmas day while the world is coming to an end is a concept that can be developed in only a few ways. Think of it this way: The end of the world is the plot and everyone’s secrets and lies are the subplot. The former is dramatic while the latter is funny. So, by definition, Silent Night is a drama (genre) with comedy elements (sub-genre), so the balance between the two is integral. What should the “right” analogy be? Even better, is there such a thing as a “right” analogy? As the answer is very subjective, you will ultimately get to decide.
Writer/director Camille Griffin starts it off as a comedy that relies a lot on foul language, especially, when that language comes out of the children’s mouths. Slowly and steadily, when you’ll start realising that everyone knows they are going to die shortly, you’ll start interpreting everything differently. What they know about the end of the world and their situation and what you do as an audience enhances the suspense, making you wonder if there is actually a way out of it. Griffin has paid a lot of attention to the details surrounding that ending. The lack of drinkable water and soda cans, the government’s presence (or lack thereof), the communication of information/misinformation about the pending doom… Everything seems to be adding up bit by bit. So, is there a way out of it? Watch till the end to find out. Keira Knightley, Matthew Goode, Annabelle Wallis, Lily-rose Depp, Sope Dirisu, Kirby Howell-Baptiste, Lucy Punch, and the kids deliver solid performances that add to the film’s believability.
With a sense of humour, Silent Night examines (superficially, I may add) the cause of the end of the world without particularly pointing any fingers. Maybe, the lack of understanding is the reason why it happens to begin with. It is not another country’s fault, it is not intricate biopolitics, and it is not the government. If we want a change, as Michael Jackson simply put it, we start with the man in the mirror. If not, one of the various cinematic case scenarios may come true one day.
This is most definitely not a gather-the-family-to-watch-a-Christmas movie, not conventionally anyway. I’m really glad I watched around this time of the year though as it got me thinking. Film, like any other art, is a vast and never-ending world that can repeat messages over and over again in innovative, intricate, and intriguing ways.
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A group of mercenaries attacks a rich family’s mansion at the same time when Santa Claus is about to deliver the gifts.
Aghhh… A grumpy, drinking, pissing, swearing, stealing, fighting Santa! What’s not to like, yeah? Well, there is nothing much you won’t like. Think of it as a funny Die Hard (1988) and Die Hard 2 (1990) set up in a house instead of a tall building or an airport with a pinch of an even more moronic Home Alone (1990). Actually, there’s a lot you will like. The writers of Sonic the Hedgehog (2020) and the director of Dead Snow (2009), make Violent Night very formulaic, keep in mind, but it’s what the narrative demands, and, probably, what you want from it. If you want to see something different from director Tommy Wirkola, I’d urge you to watch Dead Snow and Dead Snow 2 (2014).
As with previous Christmas films, I won’t get into it that much. I’ll just say ‘nay’ or ‘yay’. So, the elephant in the room is David Harbour, who is as funny as he is badass. Maybe Violent Night lacks depth, but count on him to entertain you. Remember, Stranger Things (2016) wouldn’t be the same without him. Furthermore, the diverse John Leguizamo adds personality to all the roles he’s played and so does here. Alex Hassell, Alexis Louder, Edi Patterson, Cam Gigandet, and the young Leah Brady create great chemistry and, consequently, atmosphere. Last but not least, Beverly D’Angelo always had been lighting up the screen in all 132 films she has appeared in with both her skills and beauty.
Expect plenty of shooting, plenty of fighting, plenty of bloodshed, and plenty of foul language (but not plenty of substance), and you’ll be all right. Again, there is no reinventing the wheel here. Just PG 15 “Christmas magic” and unconventional ’tis the season spirit in an old-wine-new-bottle recipe. It’s a ‘yay’.
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On Christmas Eve, twenty years after the day her daughter disappeared, a woman gets an unexpected visit from her ex-brother-in-law who holds crucial information about that day.
Nail-biting at times, but inconsistent overall. From a filmmaking point of view, interesting opening sequence. Like an omniscient narrator, the audience hovers over isolation and “uninvited” enters Darlene’s house, the amazing Anna Gunn, where the drama and thriller will unfold. Interestingly, IMDb characterises the film only as a thriller. Respectfully, I beg to differ. Anyway, the reunion with the ex-brother-in-law (Jack), admittedly, paces itself but proves to be essential to the plot point that will connect Act I and Act II, namely the revelation of that information. So, be patient and wait for it. Just wait…
The editing slows down, and the disclosure of information comes in waves. Writer/director Alison Locke focuses on Darlene, and manages to capture the shock that turns into anger, rage, wrath, and, finally, despair. So far, the film’s strong suit is the balance between Darlene’s reaction to that information (receiver) and Jack’s position (transmitter). Gunn ultimately nails her part as the mother who lost everything that day and had to live day in, and day out parents’ worst fear and Locke mounts the camera and follows that performance. Until the tables turn… and the characters start acting differently. Personally, this is the point where character development faces irreparable and head-scratching inconsistencies that damage the rest of the film. And this is where I’m going to stop in an attempt not to spoil anything crucial.
The Apology is like a book or wine; some will like it, and some won’t. I do recommend it, for sure, but that is mostly due to Gunn’s performance. Another recommendation I have with a similar premise, but a different story is The Lodge (2019): https://kaygazpro.com/2020/05/15/the-lodge-2019-drama-horror-thriller/. That is one helluva cinematic ride!
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Solidarity for Ukraine 🇺🇦 🙏
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P.S. It is always a pleasure to see Janeane Garofalo in a film, be it a primary or secondary role.
In the late 1980s, a boy makes it a mission to get the most innovative video-game console, the Nintendo.
Funny, Christmassy, and a little didactic. While most of it takes place in the 80s, personally, I didn’t get the Goonies (1985) vibe. Maybe it’s the 21st-century camera angles, lack of chroma noise, mise-en-scene, editing, etc, or, simply, the character development that is kinda 80s, but for whoever lived through it actually isn’t. Even though it is considerably funny, in my humble opinion, it betrays the funny moments by emphasising them with the editor to cut right on them, leaving nothing naturally in the background or to the imagination. This way it gives the impression that it tries to be funny a little bit more than it does. BUT… that’s just me and in a film like this, it does not really matter, anyway. I guess I am overthinking it when the expectations of celebratory films should be raised to the levels of entertainment and not to the levels of innovation.
Written by Kevin Jakubowski and directed by Michael Dowse, 8-bit Christmas is a Christmas film for the whole family and it is about family values and friendship. More particularly, about family values and friendship over materialistic pleasures and selfish needs. What’s more, 80s or not, it is a well-narrated story, by a dad to his daughter, about how things once were. And that’s something diachronic, something that will never die out, something that will always have been and always will be passed down from generation to generation. Neil Patrick Harris, Steve Zahn, June Diane Raphael, and every single child actor will put a big smile on your face!
8-bit Christmas is an old-wine-new-bottle “journey vs. destination” with an excessive suspension of disbelief and a sentimental ending for the whole family. A great must-watch for this Christmas period to forget, even for just over an hour and a half, this season’s difficulties.
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A man is tasked with a nearly impossible mission upon waking up with no memory.
Unrealistic and unwatchable! From start to finish the same unrealistic things repetitively happen in an unwatchable manner. Carter is constantly running around, fighting hordes of people (more unscratched than Steven Seagal) in an attempt to achieve something that is befitting for the era just gone, namely the pandemic. Writer/director Jung Byung-gil tried to reproduce his previous film’s success The Villainess (2017): https://kaygazpro.com/2020/07/21/the-villainess-2017-action-thriller/ (unfortunately, I didn’t praise that either), combining it with what writer/director Ilya Naishuller did with Hardcore Henry (2015) and Nobody (2021): https://kaygazpro.com/2021/05/25/nobody-2021-action-crime-drama/. Unfortunately, again, the outcome is neither.
Carter is a film that thousands of people have worked hard to bring to life so I won’t be too harsh on it. This type of action film is not reinventing the wheel: The Raid (2011): https://kaygazpro.com/2019/04/06/the-raid-redemption-2011-action-thriller/, The Raid 2 (2014): https://kaygazpro.com/2019/04/07/the-raid-2-2014-action-crime-thriller/, Headshot (2016): https://kaygazpro.com/2018/11/30/headshot-2016-action-drama-thriller/, The Night Comes For Us (2018): https://kaygazpro.com/2018/11/19/the-night-comes-for-us-2018-action-thriller/, to name but a few, are films with modest budgets and impressive results. The know-how is there. Byung-gil should have stuck with what works and add his own personality to it rather than trying to create something ‘new’ that is unbearable to watch. Arguably, his philosophy was: ‘I shoot it this way and all the mistakes can be fixed in post.’ While mistakes are indeed fixed in postproduction, that is not the role of editing whatsoever! The editing stitches the pieces together in a way that the narrative calls for and the way Carter has been shot, intended to create the illusion of one continuous shot, has irreparably damaged the hard work of those thousands of people in front and behind the camera. They say that the editing either makes or brakes a film. It has most certainly torn it apart, in this case.
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Solidarity for Ukraine 🇺🇦 🙏
Stay safe!
P.S. If you want to see how jump cuts and radical editing are truly effective (in a time when it was innovative), watch Jean-Luc Godard’s Breathless (1960).
In the 1930s, a group of outcasts start investigating a murder they were framed for, which leads them to one of the biggest conspiracies in American history.
A-list cast in a bizarre, mysterious, and awkwardly funny whodunit. While from directing, cinematography, editing, (invisible) VFX, and acting point of view Amsterdam is next to immaculate, the script itself is, as said above, bizarre. Based on the political conspiracy against President Roosevelt and the coup that intended to overthrow him, the film consists of surrealistic characters, awkward humour, and a comedic way of seeing the war and social issues. Producer/writer/director David O. Russell selects a particular part of history and makes it too Hollywood by mythologising its existence and arguing and counter-arguing the pre-WWII politics in a manner that makes one wonder how they should feel about what they see.
What O. Russell also always manages to do is gather the best actors alive and get them into his films: Christian Bale, John David Washington, Margot Robbie, Alessandro Nivola, Andrea Riseborough, Anya Taylor-Joy, Chris Rock, Matthias Schoenaerts, Michael Shannon, Mike Myers, Timothy Olyphant, Zoe Zaldana, Rami Malek, and Robert De Niro create excellent chemistry and do their absolute best in what seems to be a fairy-tale-like version of a historical event that could have changed the world as we know it today.
The film was a colossal box office failure! According to Deadline magazine, 20th Century Fox lost an estimated $97 million. Why? Amsterdam is unmarketable! I can’t see for the life of me what kind of audience it targets as I can’t see how they pitched it to the studio. But if I had to guess, O. Russell gathered the names and the studio just said ‘yes’. I think the film is just undecided in regard to what it wants to say. It addresses a serious, dark, and spine-chilling historical event in an awkwardly funny way that, despite the numerous marketable names, obviously didn’t work out.
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A chronicle of the unspeakable corruption of the Baltimore Police Department’s Gun Trace Task Force.
A must-see! We Own This City is not just a miniseries, it’s a case study. The more you go into it the more it divides you and the more it makes you question what you believe in. Political beliefs are based mostly on our readings and/or on our experiences in life. Again, the more we read and the more we experience life, these political beliefs of ours get either more enhanced or debunked. Needless to say that certain people just stick to the beliefs they were taught, learn nothing from life, and, inevitably, mentally stagnate. But that is another story for another time…
Based on the book by Justin Fenton, creators George Pelecanos and David Simon, and director Reinaldo Marcus Green stick to the facts and stun with their accuracy. While dramatised, the events displayed are purely shocking. Not just for the American audience who is, unfortunately, used to experiencing those events on a regular basis, especially African-Americans, but for the rest of the world that only gets quick snippets of those tragic events, and, if not most times, sometimes the distorted version of them. What Pelecanos, Simon, and Green have achieved is introduce right off the bat, in a non-linear manner all the main players and their involvement in this case as well as the set-up of the scenery of that case. Admittedly, even though too complex for my standards, they immediately cut to the chase and still manage to intrigue with that complexity. The intriguing factor though passes the torch on to the devastating corruption that constantly and increasingly keeps blurring the lines of legality and morality. What’s more, the deeper you get into it, the more you start questioning the already doubtful system, the role it plays, who it represents, the reason(s) it’s there as well as the way it has been developed, the people who pull the strings, and the way they are pulling them.
On the other hand, the series will make you question the role of society, the individual within it, and its relationship to that system. As We Own This City colourfully portrays, society comprises totally innocent individuals, minor criminals, and major criminals. Respectfully, the system comprises hard-working and honest people, apathetic ones, and deeply corrupted. The burning and realistic question that instantly rises then is: How is this going to work? How will a corrupted system be able to serve a corrupted society? A less burning and unrealistic question (yet tremendously important) is the oldest one in the book: Does the corrupted system ruin society or does the corrupted society unavoidably generate a ruined system (chicken/egg)? We Own This City addresses those questions, deliberately messes with your head, and provides academic food for thought once the 6th episode’s credits start rolling (and way after that).
Jon Bernthal, Wunmi Mosaku, Jamie Hector, Josh Charles, Dagmara Dominczyk, Delaney Williams, Treat Williams, and the rest of the beautiful cast AMAZE with their shockingly realistic performances, conveying the intended messages to the audience. Bernthal is an extremely diverse actor, a powerhouse, that deserves a lot of praise, and so does Hector. I remember how much I hated Marlo in The Wire (2004 – 2008) and how much I loved and empathised with Sean in this one.
You will love it! You absolutely will! It’s a must-see if you like series like The Wire and The Shield (2002 – 2008).
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A patient’s suicide will lead a therapist down a dark path against a malevolent force.
Raises the stakes, and excites, but doesn’t fully deliver… There are numerous types of narrations that the camera can help convey to the audience. One of them is the “omniscient narration” where the audience gets to experience situations that the characters can’t. For example, be at multiple places at once and have background knowledge of the characters without them knowing it – they haven’t disclosed it, but you have seen it. This is part of the reason why you get to engage more with their suffering and the events surrounding them. But not only. Not wanting to bore you more with jargon, I’ll move on to what I believe matters while watching Smile.
For the horror part, the film successfully relies on the contradiction between the abhorrent anticipation of death and the eerie smiles right before it happens. Smiling is a feeling that should derive from happiness and not from a malevolent presence that totally ruins one’s life before taking it. And Smile effectively builds up the suspense that leads to the pending horrors. While the narrative is not original – a paranormal evil that forces people to harm others or themselves, and the protagonist, racing against time, needs to find a way to break that curse before it’s too late – Smile has certain strengths and weaknesses. Horror, in that respect, is the strong suit.
For the thriller part, the film utilises the fear of doubting oneself and the feeling of helplessness. And that feeling is especially enhanced when the heroine is meant to be an expert in explaining and controlling those emotions and feelings. Writer/director Parker Finn manages to balance those two genres really well and offers a refreshing perspective on something that has been said and done numerous times before.
The script’s weakest point is Rose trying to explain what is happening to her to the people around her. Being a doctor, even deeply and severely traumatised, she should be able to convey her message in a slightly less “crazy” manner; rationalise it in a more effective way, at least, to the people that she should have known how they would react. In that respect, the drama isn’t as powerful as the situation demands it to be.
As I’ve said numerous times before, it’s worth mentioning that none of the efforts behind the camera would matter if the cast in front of the camera didn’t deliver. Sosie Bacon, first and foremost, and all the supporting cast deliver convincing performances that increase the believability of something extraordinarily unrealistic such as the specific supernatural force. And while at it, the fact that Finn chooses not to explain its origin or its true motives is something that you will judge.
On a different note, I guess here there is a discounted underlying message given (or not) in a Hollywood manner. The invisibility and therefore unpredictability of mental illness that constitutes it harder or even sometimes impossible to diagnose, let alone treat, makes the person suffering from it… all alone. And that’s infinitely scarier drama than any CGI.
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After being constantly rejected due to her past, a young woman is pulled into the criminal underworld where she sinks deeper and deeper.
Bold, manipulative, and real! Shoulder-mounted camera and tracking shots always raise the bar high. The story is straightforward from the very beginning. She has skills, but she has a past, and if she ever wants to make money, she has to go rogue. And writer/director John Patton Ford and actress Aubrey Plaza capture that from the opening shot. That mockery disguised in an interview’s clothes, the first job’s minor suspense, the second job’s increased tension, the painful reality of constantly working paycheck to paycheck and still making less than what you have to pay out, and the harsh realisation that your life keeps endlessly amounting to absolute nothing, gradually and painfully unfold like visual poetry. The question becomes then, what happens when the shit hits the fan after all the choices that one has made but they didn’t seem much of a choice at the time? Other than Plaza, Theo Rossi does a great job as Youcef (massive fan of him since Sons of Anarchy) and Gina Gershon lights up the shot she’s in even if she appears for a split second.
Excellent thriller that will keep you on the edge of your seat and will make you doubt the honesty you think you have with yourself. Is Emily turning to crime just because “the system” lets her down or has always been the criminal she revealed herself to be? Again, brilliant performances and brilliantly paced, built up and escalated.
Ultimately, what has always been known becomes once more apparent; the crime world has one rule, there are no rules. And the one thing that is certain, is that nothing is.
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Solidarity for Ukraine 🇺🇦 🙏
Stay safe!
P.S. Thoroughly thought title!
P.P.S. If you’ve been to such interviews, you know. You know…
After losing one of their twins in a tragic accident, a family of three relocates to Finland only to face a devastating reality.
Great ending, but somewhat lost on its way there. Let me start with a major concern because, overall, it’s a worth-watching horror with a great lead. The death of the kid (inciting incident) is discounted. This is by far the worst tragedy a family can face and it happens straight away and you don’t get to see a thing. There are visual manipulations that could manipulate the event and still make you feel lost for words. If you had visually experienced something, Rachel’s (Teresa Palmer) reaction would have shuttered you, and the rest of the family’s reactions would have affected you more. It just happens too fast, too soon. Having said that, let’s move on.
Understandably, Elliot’s behaviour becomes the thriller’s epicentre and the basic suspicion that something is fundamentally wrong. Due to preexisting knowledge, you know what has happened (or not), you just don’t know how it happened and, consequently, how it can be reversed. Revealing the “true” reason behind it is the first twist, something that will add flavour to the narrative and you’ll want to see where this is going. The convolution of the second one though, will make you question what you already know or you think you know, and, when it all comes to full circle, it’ll be up to you to decide whether it all made sense or not and if it was what you thought it was. If you ask me, the drama prevails while the horror fails.
After everything was said and done, I expected more of a European school of filmmaking from director Taneli Mustonen and not Hollywood. Representative examples of my expectations would be The Hole in the Ground (2019): https://kaygazpro.com/2022/05/16/the-hole-in-the-ground-2019-drama-horror-mystery/ and The Innocents (2021): https://kaygazpro.com/2022/03/23/the-innocents-2021-drama-horror-mystery/. Pay attention to Daniel Lindholm’s photography, it’s thrilling! Furthermore, loads of credits go to Teresa Palmer who deserves attention that she has not received. Again, if you would like to see her in something more realistic and European, I’d recommend Berlin Syndrome (2017). She’s brilliant!
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In the 1950s, a housewife starts gradually suspecting that the ostensibly peaceful suburbia she lives in is nothing like it seems to be.
Intriguing concept, but lacks depth. Suburbia, defined gender roles, Mccarthy’s paranoia, and a hint of mystery blend into an overly euphoric society that raises questions from the very beginning. Who are they? Where are they? Why are they there? What are the men doing? Why are they doing it? I’m not asking more so I don’t spoil it.
While all the ingredients are there and the premise of the film is intriguing, the plot lacks depth. Without telling you much, due to preexisting knowledge of certain mystery films, you will quickly get the idea of the town’s conspicuous facade. Once you do, what you can hope for is for something totally extraordinary to happen that will make you say: I didn’t see that coming! Will you be blown out of the water when you least expect it? I’ll leave that up to you to figure out.
Since its birth, art had always been questioning society and the world we live in. The film industry has done it on numerous occasions – I’m not naming films to not betray the narrative – and Don’t Worry Darling is no exception. Shane and Carey Van Dyke’s story and Katie Silberman’s script are exciting and Olivia Wilde’s lens captures that excitement but not necessarily the thrill; the suspense’s buildup and climax. Does it worth a watch? Yes. Even though there is an agenda that reflects today’s troubled and confused society? Yes. To me though, Don’t Worry Darling is a prime example of theory contradicting practice. It is directed by a woman with the intent to empower women, but, in reality, both men and women messed it up in the process and the film paid the price. For more BS on Hollywood trying to be diverse, ask actress KiKi Layne on what she has to say: https://www.imdb.com/title/tt10731256/trivia?item=tr6531755
Florence Pugh, Harry Styles, Olivia Wilde, KiKi Layne, Gemma Chan, Chris Pine, and the rest of the cast perform well, but surely you’ll find their performances a lot better elsewhere.
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The atrocities of WWI as seen through the eyes of a young soldier.
A brutal and soul-wrenching view at the real face of war… Walking on the shoulders of giants, such as Apocalypse Now (1979) Saving Private Ryan (1998), and Red Thin Line (1998), All Quiet on the Western Front earns its rightful place in the pantheon of war films.
The first element that stands out is James Friend’s captivating photography. The beautiful landscapes will be the first visual to catch your attention… followed by the human justification of the worst violence, called war. While perfectly framed, its ugliness remains daunting and always unspeakable.
Based on the book by Erich Maria Remarque, director Edward Berger has managed to pull off what seemed impossible in recent years; the atrocities of a war that tormented a whole continent and changed the fate of the rest of the world. While this is the third film based on the book, Berger claims that it is another adaptation of the book and not a remake of the previous two films that owe their success to the horrendous events described by Remarque who experienced that war firsthand. And so does this one. All Quiet on the Western Front is Germany’s official submission for the Best International Feature Film category of the 95th Academy Awards in 2023 and also Germany’s most expensive Netflix film. It is worth noting that none of the wonderful efforts behind the camera would matter if the people in front of it didn’t do such an excellent job. Felix Kammerer, Albrecht Schuh, Aaron Hilmer, Moritz Klaus, Edin Hasanovic, Daniel Brühl, and the rest of the cast’s performance is purely triumphant.
Warning: This is not an easy watch. It depicts realities that no generation can tolerate, especially ours. Yet, certain human monsters, as I compose this, make people relive those abhorrent years while they enjoy the comfort of their own couch and warmth.
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An ostensibly random encounter turns into an elaborative secret operation against a prime suspect of a heinous crime.
Slow-burn, dark, compelling, and different! The Australian filmmaking school at its best! The introduction, disclosure, and development of Mark and Henry will blow you out of the water. This is the character development that film schools refer to. Who they were in the first act and who they are revealed to be in the end will keep applying constant pressure against your chest. By unfolding these characters along with the mission’s extent and nature, writer/director Thomas M. Wright creates a mixture that slowly and mentally painfully comes closer and closer to imploding. The charismatic thespians Joel Edgerton and Sean Harris put heart and soul into their characters and, while I usually say “shine” in front of the camera, in this instance, they put life’s light out, hence that constant pressure on your chest. Jada Alberts’ performance immensely contributes to the deprivation of the human psyche’s light.
There is not a lot I can say without ruining the experience for you so I can only urge you to turn off your lights and put your phones on silent to enjoy an incredible Australian cinematic experience. The script is solid, the editing converts the story into an intricate plot, and everything you get to know, you get to know it when you need to and not when you want to. Interestingly, what you don’t get to know is hinted at or implied, leaving it up to you to interpret it – the polar opposite of what Hollywood offers.
The beginning, as well as the ending, are visual poetry. The narrated images serve as an expression of feelings that eerily initiate and befittingly conclude this journey. Based on the book by Katie Kyriacou and a real-life haunting case, Wright creates a dark and heavy-on-the-soul masterpiece that, once seen, will not be easily forgotten.
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A woman arrives at her Airbnb rental only to confront horrors beyond her wildest nightmares.
The epitome of suspense and the confusion after that…
From a filmmaking point of view: What a 44-minute thrill! A slow-burn thriller that cuts your breath short by manipulating you as to who Keith (Bill Skarsgård) is. Can be trusted? Is he who he claims he is? Is Tess (Georgina Campbell) overly suspicious about nothing? What would you do if you were her? Her relatable character and the predicament she has to face become the solid foundation of suspense and the driver to move the story forward. And then an unexpected, horrific, and atrocious nightmare begins and unimaginably escalates – no spoilers… By cutting to AJ (Justin Long), all writer/director Zach Cregger does is leave you hanging, on one hand, but, on the other, he provides a great introduction to him, what has happened to him, and, once more, urges you to decide as to whether he is who he claims he is or someone who is accused of being. Furthermore, he eventually connects the stories perfectly. Without telling you how much later on, Cregger cuts to the “answers” of burning questions that ultimately (unintentionally?) create more. From then on, I’ll leave it up to you. Tone, pace, and rhythm change, and the narrative takes an even more unexpected turn. Last but not least, a lengthy round of applause goes to Campbell, Skarsgård, and Long who give exceptional performances.
From a sociopolitical point of view: A cleverly camouflaged (but not enough) “woke” film… The role of the white, heterosexual male, the role of the female ethnic minority, and the role of the police, to name but a few, are laid out there for you. I was in two minds at first, but the moment I heard about Reagan (no spoilers) it all became clear. Political agendas made films. From The Birth of a Nation (1915) to Oktober (1927), to Casablanca (1942), to John Wayne, to the white, heterosexual, overly muscular American “hero” of the Reagan administration, to today… films always had an agenda. Arguably, back then was a lot more difficult for the average cinemagoer to spot these agendas, but nowadays they become clear as rain. And, for me, it is off-putting. The agenda takes the focus from the narrative and places to politics. Something that you will not spot as often in independent productions as their aim is a lot more focused. Hollywood and forced-down-the-throat agendas go way back, but the good news is that there are still films out there that effortlessly aim to elevate strong female protagonists and minorities that Hollywood has been neglecting for so long and now is trying to “prove” it has been reformed (see comments on previous films I have reviewed on forced diversity).
To sum it up, the best and scariest part is the layering – distinguished and emphasised by the highly skillful editing. Hands down, one hell of a ride to hell on earth: What could possibly be beneath something that creepily lurks underground? Then, the worst and most uncalled-for part is its political agenda.
Regardless, I hope you enjoy it. It’s really worth the shot!
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Michael Myers faces Laurie Strode for one last time, massacring whoever stands in his way.
Mixed bag of feelings but highly recommended. I’ll keep this one deliberately short as I’d love you to watch it and make up your mind. I did recommend Halloween Kills (2021): https://kaygazpro.com/2021/10/30/halloween-kills-2021-horror-thriller/ and I definitely recommend this one. Halloween Kills provides a great sequel to Halloween (2018) and also provides an answer to the most significant question of both the canonical and non-canonical films: Why does Michael Myers seem invincible… on Halloween day? Respectively, Halloween Ends provides the ending (?) all Halloween films – especially the canonical ones – deserve (?). Maybe, on the way there you’ll pick on a few “narrative discrepancies”, but, no matter what, an end needs to be put to the saga of Michael Myers who had been leaving behind him piles of bodies and very long blood trails, for a very long time (?).
David Gordon Green helms it one more time, balancing action, drama, comedy, and horror in a way that let many fans down and even though some of the “accusations” have a solid basis, some of them are as brutal as Myers. What needs to be said is that Jamie Lee Curtis is still the iconic Laurie Strode who set the solid foundation of the modern dynamic on-screen heroines.
Despite its flaws, I hope you enjoy it. It’s Halloween and this one seems to be the appropriate film/finale for the “spooktacular pumpkin period” (bad joke, I know).
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Eight terminally ill young men and women find companionship at a place where nothing is what it seems and gather at night to exchange horror stories.
Millennial horror with some pleasant surprises! So… It is presented as if Ilonka gets the short straw in life and she happens to find… Hold on… that’s not right. A seventeen-year-old getting the news that they are going to die soon should not be treated as a “short straw”. It’s heartbreaking, demoralising, earth-shattering… actually, it’s something that cannot be described in words. And, here, it’s been described a lot and utterly watered down. Then, to an even greater extent, apply that to every kid involved.
As if that’s not enough… one of my favourite worst practices in films nowadays, the one that I have spoken about numerous times, can also be found here; the forced diversity. And whoever thinks that Hollywood gives everyone an opportunity in this way and that I shouldn’t be a stuck-up b!@£#, I would say that I only accept that theory if everyone couldn’t as well be an underwear or a fragrance model. Where is the opportunity for obese young’uns or unattractive youngsters? All of them are good-looking young men and women and that’s amazing, but destroys the illusion of whatever realism can a series like this offer, distracts from the story, undermines human intelligence, and only becomes a crowd-pleaser. More credits, on this occasion, will have to go to Ruth Codd (Anya) whose character allows her to be more expressive than the others.
Other than that, here’s what you sign up for: Editing that cuts to close-up reactions so you constantly know exactly how everyone feels. Dialogues that are 100% scripted where everyone knows exactly what to say, how to say it, when to say it, and who to say it to. Jokes that are not funny. Childish misunderstandings and childish reactions to them, emphasised by the editing mentioned above. Then, as also mentioned above, clichéd characters portrayed by model-like actors/actresses who challenge nothing, really.
As for the stories themselves, they are original. They are great bedtime stories, and while not horror, they are eerily entertaining. Their narrative will hype you up, but the visuals will somewhat let you down. I believe it would be great if one could listen to these stories in an audio form (podcast?). This way, our own images would have been created and we would have, potentially, enjoyed them more.
It seems like I don’t have a lot of positives to say so, I’m going to stop here. Part of the reason is that Mike Flanagan has raised the bar very high with his previous miniseries and films and this one, cannot possibly reach it. It has nothing to do with the actors and actresses. They shine in front of the camera, and I’m glad they all look so gorgeous. It is Flanagan who seems that he didn’t take their terminal state seriously and therefore their characters are as superficial as they are. As I have mentioned in a previous review, on Dahmer (2022): https://kaygazpro.com/2022/10/18/dahmer-monster-the-jeffrey-dahmer-story-2022-biography-crime-drama/, Netflix is responsible for superficial and mindless entertainment as well as films and series that can shock you to your core. Unfortunately, The Midnight Club belongs to the former category.
I am not sure how much control Flanagan had over this project so, if you’d like to watch a few of his best works, I definitely recommend The Haunting of Hill House (2018), The Haunting of Bly Manor (2020), and The Midnight Mass (2021) – And, hopefully, The Fall of the House of Usher (2023) will be as amazing!
Despite my negative review, I would like to conclude with something that I got from the series’ overall vibe. Life is priceless and the ones who are fortunate enough to get to live it should not take it for granted. Because the less fortunate ones put up a real fight for it.
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The infamous puzzle box is found by a troubled young woman who will, inevitably, have to confront the merciless Cenobites.
Watching the trailer I couldn’t help but ask myself, what’s wrong with it? Well, for starters, it didn’t look “dirty” enough. Then, it didn’t look gory, it revealed too much in too little time, and, consequently, didn’t leave much to look forward to. Anyway, the marketing could have been rubbish so, I couldn’t wait for the film itself.
The inciting incident, at the billionaire’s mansion, will get you hooked but will not excite you. It’s a good start but it could have been a lot more. The characters themselves are decent, more investment has been made in Riley, and Odessa A’zion nails it as a troubled personality. The rest were so and so. Therefore, whatever happens to them as the narrative unfolds, will not bring tears to your eyes and you probably won’t even say ‘oh no!’.
Speaking of narrative, the film follows the same recipe its predecessors did, offering really nothing new or groundbreaking. The only “new” is the digital VFX and make-up that do the film no favours whatsoever. Unfortunately, that is an even greater weakness than the narrative because it makes the Cenobites look… fake. And if they look fake, the illusion of their “reality” crumbles. Hellraiser (2022) is the typical example of the parts being greater than the sum – when it should have been the other way around.
Favourite moments include, and are unfortunately limited to: the beginning of the bathroom sequence, the beginning of the infirmary sequence, and the introduction of the notepad. The bathroom doesn’t come through – nothing happens, the infirmary gets you excited – and leaves you hanging, and the notepad, as informative as it may be, is not enough to make it the film it deserved to be. A film that represents unfathomable gore, twisted darkness, and unbearable infliction of pain.
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The chronicle of the life of Jeffrey Dahmer, experienced through the lives of the people who knew him, or thought they knew him, and the ones who were unfortunate enough to cross paths with him.
It’s almost Halloween so this is my first choice for this festive period. A different type of boogeyman. A real one…
So far, Netflix has been behind superficial and mindless entertainment that makes one wonder how and why they could spend millions on such productions, and, on the other hand, it is responsible for films and mini-series that can shock you to your core. Dahmer is a representative example of the latter. Ryan Murphy, the man behind American Horror Story (2011), is hell-bent on making you feel uncomfortable and he 100% succeeds in doing so. While taking that into consideration, please, read below my review / short analysis, and, if you haven’t watched it, maybe pay attention to certain details. Then, if you have, even retrospectively, use my two cents to compare it to what you thought of it. My aim is to “bullet point” the way the narrative has been approached. Murphy…
… Throughout the episodes spends a significant amount of time trying to “blueprint” the reasons why Dahmer became the “person” he became. Reasons include, but are not limited to:
The hernia and anesthesia (mentioned twice).
Mother’s paranoia and lack of love.
Dad’s obsession with roadkill dissection.
The parent’s divorce.
Society’s homophobia (instigated the first murder?).
The police’s incompetence (mentioned numerous times) and its cinematic depiction give a justification or seek a reason behind Dahner’s psychopathic and murderous tendencies. I presume there is an argument there that if he had been caught and stopped, these tendencies wouldn’t have developed (Dahmer mentions it had become too easy).
Towards the end though, Dahmer himself suspects that he was probably born like this…
It feels like the blame needs to be shared or has to be put on someone so Dahmer’s mentality and, consequently, actions make, somehow, sense. Pay attention to how much attention is given to the police not caring. Pay attention to the montage (thoughts) after his father asks himself if he could have done more and how deeply he blames himself. Pay attention to how the system didn’t care to counsel him and even let him go with a slap on the wrist after he got caught masturbating in public.
… Throughout the episodes shifts the focus of the series.
While the whole series is provocative and all episodes are spine-chilling, episode 6 is the one that, in my humble opinion, raises the most concerns. Tony Hughes is shown being born, loved, and struggling in life, but being nothing but optimistic. Murphy gets the audience to love him more than any other character and that is right after he got us wondering whose fault it is that Dahmer became one of life’s biggest mistakes and after taking some of the blame off of him to pass it around. Murphy, on this occasion, tricks us into believing that there could have been hope for Dahmer if he had found love, unconditional or otherwise, but, inevitably, hope painfully dies everywhere around him, after all. My question here is simple: Why? Why would you shift the focus like that halfway into it? What is the endgame? What is he aiming at as a filmmaker?
… Revisits the police’s incompetence for one last round.
So, the loss of faith in the system, again. Glenda’s story is one of the countless testimonials where incompetent people undermine others, considering them inferior because they look different. Another question: Who knew that incompetence ruled for so long (and still does)? Answer: Everyone did!
… Treats Jeffrey Dahmer as a case study.
Making it to the last two episodes, it’s not only the focus that shifts this time but also the tone. While it is undoubtedly brilliantly made, the last two episodes become what the rest of the series had avoided that far; “too” Hollywood. The series could as well have ended in episode 7 and further details, such as life in prison, and more, could be delivered with title cards. Yet, this is not the case. The comparison to serial killer John Wayne Gacy opens the door for Murphy to raise yet another question: Could someone like Dhamer be forgiven? Also, can someone like him find Jesus, repent and truly change? I think the answers have been given previously (see Episode 6) and there is no reason to keep investigating that. Furthermore, I believe that Murphy wanted to raise even more questions (as if there is not enough to take in that far): Could the two serial killers be considered as one and the same? In other words, do their motives differentiate them or should they both be treated socially, clinically, and legally the same way? Be it as it may, to me, the only positive here is that we get more of Niecy Nash’s wonderful acting.
And that applies to every actor/actress participating in the series. Without the charismatic acting of, first and foremost, Evans Peter, and then Richard Jenkins, Molly Ringwald, Michael Learned, Karen Malina White, Rodney Burford, Shaun Brown, and everyone who even briefly appears in front of the camera, the series wouldn’t have been the same.
Conclusion
The series is, purposefully, manipulative and the order of the tragic and horrific events becomes, cinematically, as important as the events themselves. The non-chronological way of telling the story, the importance of when to start and how to finish, and what to include and what to leave out are all part of a narrative that, as stated above, is meant to shock. Every episode becomes a testament to Dahmer’s character, and every episode builds up his gradual monstrosity, which raises more and more questions about the world we live in. Speaking of the monstrosity, I’ll leave you with some food for thought. Keeping in mind that this is a real person when the series’ title reads: Dahner – Monster: The Jeffrey Dahmer Story, what kind of monster does it refer it to?
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P.S. It’s funny how Netflix raises the issue of Lionel Dahmer profiting from the book and the publishing company from the graphic novel. If you know what I mean…
After an apocalyptic disaster, a girl with certain skills and her paralysed father are trying to find a cure for the planet while trying to survive.
Intriguing, refreshing, beautifully flawed, and utterly atmospheric. Human hubris… the cause behind the apocalypse in numerous sci-fi/thrillers becomes here as well the reason behind our world’s ending. Thinking of knowing what we are doing and having mastered God’s complex we once more ruined nature and she triumphally returned the favour. From then on, it’s just a matter of surviving, adapting, and trying to find miraculously a solution to the calamity we so successfully caused.
As stated in the beginning, it is refreshing but not necessarily original. Having said that, it is a (cinematically) satisfactory and at the same time unpleasant view of how our post-apocalyptic world would look if that certain disaster occurred (no spoilers). Unlike Hollywood, the visual effects here only serve the narrative’s development without overshadowing it and without attempting to impress you. Writers/directors Kristina Buozyte and Bruno Samper offer a unique European perspective, made in the rural landscapes of Lithuania. Extra credits should be given to the cinematographer Feliksas Abrukauskas for the eerie and nightmarish mise-en-scène (everything that exists in the frame). Last but not least, a huge round of applause goes to the film’s wonderful cast: Raffiella Chapman, Eddie Marsan, Rosy McEwen, and Richard Brake.
Highly recommended to hardcore sci-fi fans and to everyone who loves paying attention to details!
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After meeting accidentally in Italy, a Dutch and a Danish couple meet up again for a weekend in the Dutch countryside where things go awfully wrong.
Shockingly suspenseful! It is the little things that will make your heart skip a beat. While nothing is ostensibly happening in Italy, Sune Kolster’s music wants you to know that something will happen. What seems innocent or just odd in the beginning will get unbearably awkward and uncomfortable later. The slow-paced editing builds up the narrative in a manner that makes the audience a narrator who knows more than the Danish couple. But neither we nor them can foresee what is about to happen. A prime example of editing (or lack thereof) is the moment where Agnes is told what to do on the table – the perfect establishment shot that involves actions/reactions simultaneously is like a volcano ready to errupt. Other instances of incredible pace and rhythm involve the dancing competition and then the chaos that follows after that.
There is nothing much to say without ruining the experience for you so I’ll keep it short and conclude with the great acting. Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders, and the kids play beautifully their part (I’m sure the kids don’t have the full picture), adding to a realism that will cut your breath. Writer/director’s Christian Tafdrup visual explication of evilness becomes a spine-chilling reminder that, arguably, the invention of monsters such as werewolves, vampires, and zombies might be our way of coping and/or even projecting a possessed “darkness” that we could never admit to ourselves…
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Solidarity for Ukraine 🇺🇦 🙏 and prayers for Hurricane Ian’s victims!
A small-time drug dealer struggles to get a legitimate job and, before knowing it, he dives deeper and deeper into the criminal world.
A reality that doesn’t sound like Greek to any Greek. Co-writer/director Fokion Bogris captures through his lens the reality of the Athenian streets and the petty, unorganised crime like few have before him. From a narrative’s point of view, using profusely “lowlifes”, Bogris challenges toxic masculinity, personal and social insecurities, and homophobia through characters that have loads to hide and plenty to lie about. Everyone wants to “score big” or live the “easy life” with the least possible effort, crossing the lines of immoral and illegal without even realising it or caring about it.
From a filmmaking point of view, he creates a neo-noir atmosphere and a sense of realism that numerous members of the Greek audience will identify themselves with. While “realism” in film theory is a subject that opens a lot of cans of worms that make theorists (endlessly) argue with each other, in this instance, what I mean is that, through its minimal editing, it reduces the shot-reverse-shot techniques and, depending on the subject matter, it focuses on either the action or the reaction. In either case, both become – intentionally or unintentionally – funny as, more often than not, the characters’ close-ups express the intended feelings. The same applies when all characters are included in the shot and the audience gets to experience everyone’s feelings simultaneously. Add the colossal amount of slang and vulgar language to the mix and the result enhances the realistic effect to the point of surrealism; a movement that, arguably, can characterise numerous societies nowadays.
That particular filmmaking path, paved initially by writer/director Yannis Economides, has upped the game for the Greek cinema and the Greek filmmakers and has given the actors the opportunity to express themselves in a way they struggled to do before, present society in a way that could not be really presented before, and make a statement that the Greek cinema can be as competitive and daring as anybody else’s. Having said that, that school of thought wouldn’t exist now if filmmakers such as Theodoros Angelopoulos, Pantelis Voulgaris, Constantine Giannaris, and Panos H. Koutras (and many more) hadn’t offered so much to the film industry.
Finally, the last round of applause goes to the cast that shines in front of the camera: Vagelis Evangelinos, Stathis Stamoulakatos, Maria Baloutsou, Vasilis Anastasiou, and Sissy Toumasi.
Amercement is definitely worth your while as it’s an eye-opener, “welcoming” its audience to the dark side of the… world as you know it.
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In an attempt to rekindle their friendship, two young women decide to climb a 2,000-foot radio tower where they get trapped.
The daring opening sequence that will get you excited will be immediately followed by clichés that could have been easily avoided. By cutting to the bar, closing up to the whisky glass, and, over somber music, explaining the emotions that are simultaneously shown, the filmmakers miscalculate already the audience’s intelligence. Not a good start, admittedly. What’s done right after that is the tower’s build-up. The editing’s pace and rhythm warn you that this is a beyond expression bad idea, but if they wouldn’t go for it, the film wouldn’t have been made and we wouldn’t be talking about it.
So, the main sequence, the tower’s climbing, and reaching the top… is absolutely terrifying! From the comfort of my chair, I was not able to breathe so, I can’t even begin to imagine how it would be if one was actually up there. And when calamity strikes it gets even worse. What you’ll probably start experiencing then is shortness of breath and vertigo, because producer/co-writer/director Scott Mann utilises these scenes beautifully – or should I say fearfully? Even just standing or sitting at this height cuts most people’s breath short, never mind moving around, looking down, and hanging by it. I could barely sit still on my chair. Anyway, how much better does it get after that? Well, while the story remains intense – mostly due to the height they are at and the efforts they put to find a solution – the dialogues don’t get much better. The subplot does not really help the story’s advancement. Be it as it may, shortness of breath and vertigo persist till the very end of the second act.
Overall, Hunter’s idea was stupid and selfishly she dragged with her Becky, someone who hadn’t climbed in a year, due to climbing lost her boyfriend, is currently self-destructive and depressed, and, consequently, is in a horrible physical condition (even though due to Hollywood reasons she still looks fit). And more stupidly, when they get up there, she asks her to do something way even more stupid by telling her: “The old Becky would have done it”. Do I need to mention that they decided to climb an over 2000-foot tower of rusty and unstable metal with so much skin out? What can I say…
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P.S. While the B67 TV tower doesn’t exist, it is based on a radio tower of similar height that people have been using for climbing and then jumping off with a parachute.
When a dead body is found in the marshes, a recluse young woman becomes immediately the prime suspect.
Engaging, thought-provoking, and deeply emotional! The brilliant opening sequence that promises a lot starts delivering immediately. The found body (inciting incident) and the accusation of Kya Clark lead to the flashback that reveals the American South’s problems in an emotional yet non-judgmental way. The domestic abuse and the notion of the outcast immediately prevail in the film, something that will get you to know Kya, humanise her before anybody else does, and, consequently, make up your mind about her way before the lawyer, the judge, the jurors, and the crowd does.
Love, innocence, fragility, and the happiness found in everything that society ignores or learned how to turn the blind eye to, set the foundation for the drama to flourish, hook you in, and open the gates to the mystery that has already started permeating it. Based on Delia Owen’s novel and Lucy Alibar’s script, Olivia Newman’s directing provides a good taste of the South of the 60s – leaving out or smoothly bypassing (surprisingly?) THE major problem – but also leaving a lot of food for thought behind, such as the lack of individual morals, the long collapse of societal ideals, and the downright detachment from nature. One of the hats behind this beautiful production is worn by the amazing Reese Witherspoon.
Daisy Edgar-Jones (the British pulling a fantastic South American accent), David Strathairn, the man whose performance has never failed to impress, Taylor John Smith (as Tate), and the brief appearance of the diverse Garret Dillahunt create this ecstatic atmosphere that blends the thrill and the romance and lead this journey to its rightful destination. A destination that will raise questions from as back as the court and the presentation of facts to the man’s reaction upon his discovery – no spoilers.
Highly recommended to everyone who has ever felt, even momentarily, the way Kaya has her whole life.
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P.S. Take it from someone who has never been a fan of Taylor Swift: The end-credits song is Oscar-worthy and a perfect match to the film’s narrative! It left me gobsmacked!
A young couple tries to survive the spread of a virus that brings out people’s darkest side.
Brace yourselves!!! The slow-burn first act is the calm before the storm; the everyday life with the everyday problems as we know it. You know it’s gonna go crazy, you just have no idea how much. Once it gets started, the horror introduced with Jim will get you hooked and cut your breath short until you get to experience the introduction again with Kat… tenfold! The train’s claustrophobic sequence is one of the bloodiest and most excruciating cinematic experiences you’ve ever had.
Producer, writer, and director Rob Jabbaz makes sure to shock you to your core in the beginning, but then, somehow, he manages to find a funny side to it, as if he parodies, momentarily, what he started. Once most of the horror has been unleashed and extremely graphically portrayed, Jabbaz seizes the opportunity to politicise it – it was shot throughout the pandemic, after all – slows the pace down, and gives you the time to wonder where it’s heading. And this is where I stop. The rest’s up to you to figure out and decide whether all this violence was justified and how the allusions and metaphors were laid out to you.
The first round of applause goes to Berant Zhu, Regina Lei, Tzu-Chiang Wang, and the rest of the cast who deliver some really disturbing performances. It would be intriguing to ask them how they felt after portraying such characters. The second round goes to the crew that did a fantastic job behind the cameras despite the numerous pandemic restrictions.
Highly recommended for all hardcore horror fans!
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The blessings and tribulations of the man who left behind him an everlasting legacy.
Mesmerising, vibrant, insightful, and saddening. The beauty of Buz Luhrmann’s films lies, predominantly, in his sense of pace and rhythm; in his sense of editing. Elvis introduces a “superhero” whose powers are music and showmanship, and Luhrmann comes on really strong, really fast. In the first half hour, he manages to build the foundation of an icon that is destined to follow a meteorite’s trajectory. What comes next is the introduction of tribulations of the still rapidly rising star. Segregation laws, massive hysteria, national paranoia, and personally costly decisions shape the image of a man, unknown to the public, who has to face demons as you and I do. And Luhrmann showcases that the world keeps changing while trying to fit Elvis in it – while not sparing the details of how hard that is. Notably, finding and losing (only to find one last time) that place, when everything around moves so fast, is the most crucial part of the hero’s journey.
Luhrmann puts on an electrifying and prestigious show! He builds up the rise and (internal) fall of Elvis as we know him. Now is the time though to praise the people who are also responsible for that show. First and foremost Austin Butler (Elvis) – who we might see at the Oscars. He took the role amongst A-list actors way more known than he is and all I can say is that he fully deserved it. His performance now will always be associated with Elvis Presley; he became Elvis Presley. Tom Hanks shines as his disgusting manager, he is inarguably one of the greatest actors alive. Sam Bromell, Craig Pearce, and Jeremy Doner kept the script non-linear and tight and offered a fresh and unique perspective. Mandy Walker whose lens expresses all the intended feelings. Jonathan Redmond and Matt Villa masterly weave these feelings together and lead to my very first comment on the immaculate pace and rhythm that flows through Luhrmann’s films. Costume designer, Catherine Martin, goes the extra mile and gets hundreds of costumes to dress up Elvis and the rest of the cast and I’m positive we’ll also see her at the Oscars. Last but not least, extra credits go to EVERYONE else in front and behind the camera who worked on the film.
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Solidarity for Ukraine 🇺🇦 🙏
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P.S. To corroborate my point, if you want to get an idea of Luhrmann’s sense of editing, watch Moulin Rouge! (2001), and more specifically, the “El Tango de Roxanne” sequence (01:18:08 – 01:25:31). It lasts 443” and contains 419 cuts – approximately, one cut per second (I had to watch it at half the speed to count all of them)! In editing’s (unofficial) terms… a proper “frame-fucking”!
An entertaining livestream during the pandemic takes a turn for the worse when the host, unwillingly, gets involved with shadowy people and dark entities.
Dumb, laughable, nonsensical… everything a horror film shouldn’t be! In a nutshell, how this horror sub-genre came to be: found-footage, webcam, dashcam. Needless to say which category Dashcam falls under… Let’s start with the basics: Annie Hardy – the character, not the person – is the biggest douche you’ve ever encountered in a film and you won’t show any sympathy for her. Stretch, on the other hand, is somewhat indifferent. Director Rob Savage did a horrible job with the camera. I presume the editor, Brenna Rangott, spent most of the time piecing together badly shot, shaky, incoherent footage. Last but not least, we, the audience, spent all of our time, the whole 67′, wondering what the hell was going on – or 75′ if you stayed till the very end to watch Hardy freestyling with the end credits’ names.
If you consider Dashcam as a found-footage horror, you’ll get annoyed and disappointed. If you see it as a parody of the sub-genre though, with a funny leading actress, you’ll have a decent laugh. Jason Blum has produced some of the best horrors of the 21st century so, he’s allowed to have a misfire every now and then. My issues are with the particular film and not Blum or his company. But, speaking of laughter, the best part of the film is the side comments, they range from amusing to hilarious. I truly believe that if something similar happened in real life, the comments would literally be that. Now, from a filmmaking point of view, that is horrible because terms such as mise-en-scène (what’s included in the frame) fly out of the window. The audience’s attention is focused on the side of the screen when the action takes place elsewhere. It’s like focusing on reactions while being unaware of what these reactions are for. From a societal point of view, it is worse than horrible because it showcases that a fellow human’s dire need of help becomes the people’s entertainment and amusement. The evident collapse of humanity becomes, then, the real horror.
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A news editor, and aspiring journalist, receives a dashcam video that turns a simple crime into a government-level conspiracy theory.
Suspenseful, realistic, weak at times, but worth your while. The intentionally misleading opening shot will put a smile on your face as it indicates how much the hero goes out of the house. Overall, the film’s premise relies on pseudo-realism. Facebook, FaceTime, the vernacular, the body language, and even the way the news is edited are all indicators that these are real people like you and me (I was about to use “normal”, but that is a term I don’t understand anymore). Upon introducing the main characters, producer/writer/director Christian Nilsson cuts right to the chase with the landing of the footage (inciting incident) that was circulating the rumours of the alleged conspiracy theory.
What the audience encounters next is a perfect example of how the editing creates meaning; how the editing builds up the suspense. As an editor myself, there is so much I could tell you about the details of the film’s editing and the areas it is focusing on, but chances are I’m gonna bore you to tears. Personally, the idea of the conspiracy and the way it is built up in that sequence is the best part of the film. It is the part where you are still mystified and unsure, you want to believe Jake is up to something, and the part where you really want to know how the story will end. From the moment Jake calls Mara and then exits the building though, it somewhat loses that grip, giving an anticlimactic feeling. The reason behind my argument is that it answers questions about specific facts, on one hand, but it doesn’t question broader issues related to the facts provided – in other words how factual the facts are. I guess every investigating mind can approach it differently, but this is the way Nilsson does and I respect it.
Don’t let that discourage you, though. Dashcam lasts only an hour and twenty minutes, it is a low-budget indie that was shot during lockdowns, and the cast does a great job. It is an entertaining film to take your mind off things, wonder what you would have done if you were Jake, think about the ending for a minute, and go to bed. Francis Ford Coppola and Brian de Palma are Nilsson’s apparent influences – The Conversation (1974) and Blow Out (1981), respectively – but comparing Nilsson to them would be unfair as they were far more experienced and studio-level filmmakers.
Fun facts:
The film is about a New York Governor’s scandal that premiered the same day a real-life New York State Governor was accused of a sexual scandal.
Also coincidentally, there were two Dashcams in 2021. I’ll follow up right after this with the second one.
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Despite her mother’s best efforts, an ancient spirit kidnaps a young girl in an attempt to serve her forever.
A taste of Balkan folklore with a pinch of Witch (2016). As per Focus Features, the production company behind the film, it takes place in the 19th century FYROM – they said Macedonia, but let’s leave it at that. They also said that writer/director Goran Stolevski based the film’s shape-shifting legends on stories coming from his family. That sounds highly likely as all Balkan countries are inundated with such legends and myths which, partially, shaped those societies as we know them today. Having traveled through the Balkans a few times, I’ll tell you that the people, especially in villages, are nothing but welcoming and warm, still keeping to their norms and traditions. Just like you see in the film.
What Stolevski has achieved is a (Malick-esque) chronicle of the perception of life as seen through the eyes of a soul that knows nothing of “good” or “bad”, unaffected by morality and immorality respectively; “… like a river. It flows and flows… and still stays in the same spot.” And, as such, I’ll dare say that Stolevski’s perspective is unique. The way I see it, he raises significant questions: Does evil have a choice in life? Is evil predestined to remain evil? Even better, can evil be actually evil when that meaning is unknown to it?
Technically speaking, Matthew Chuang’s cinematography is immaculate and it needs to be praised highly. He mounts the camera over the shoulder and his tracking shots, from full to close-ups, deliver all the intended feelings and emotions. An extra round of applause goes to the whole cast that shines in front of the camera. Maybe the amazing Noomi Rapace is the main marketing attraction, but EVERYONE is spectacular! Both in front and behind the camera.
I hope you enjoy it as much as I did. The question I’ll leave you with is, does life run in a full circle?
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A woman who struggles with everyday life engages with every aspect of her multiverse self to save every universe.
Funny, exciting, surrealistic, and absolutely brilliant! The opening sequence at the laundromat sets the film’s pace and rhythm. It introduces the heroes and heroines, establishes their characters, and makes it clear where everyone stands in the world. The dialogues are sharp, the editing is “snappy”, and the inciting incident (Alpha Waymond) moves the story forward to the second act.
From then on, The Matrix (1999) meets The One (2001). The Multiverse and the infinite versions of everyone’s self clashing create a concoction of euphoric and exciting emotions that, combined with the action and the underlying drama, offers a unique cinematic experience. I am certain that full analyses will be written in the near and distant future about this film, but, for now, I’ll just leave you with these few comments in an attempt to urge you to watch it. If I were still a film student or ignorant of how the ropes work, I couldn’t for the life of me figure out how writers/directors Daniel Kwan and Daniel Scheinert (aka the Daniels) pitched that script to production companies. Honestly, how does anyone ask for funding, pitching sequences where a butt-naked security guy jumps out of nowhere and lands on an oval tax award, aiming to connect to a different universe and engage with a more equipped to the occasion self? How about a female couple with hotdog fingers, licking each other’s mustard… Yes, hotdog fingers. Licking each other’s mustard – no euphemisms, here!
Being a bit more pragmatic/cynical nowadays though, and by reading the end credits, I can only assume that executive producers Joe and Anthony Russo made the green light turn a lot easier just by showing up. The Russos believed in the Daniels’ script and helped bring it to life. And, personally, I applaud them. Actually, I applaud all cast and crew for giving themselves 100%. And by doing so, Everything Everywhere All At Once became A24’s greatest financial and critical success. Michelle Yeoh matures like the finest wine and for over three decades has offered nothing but excitement, cry, and laughter, and, here, all of the above. Alongside her, Ke Huy Quan, best known for his stellar performances as Short Round in Indiana Jones and the Temple of Doom (1984) and Data in Goonies (1985), Stephanie Hsu, James Hong, and, the one and only, Jamie Lee Curtis who will have you in stitches.
Everything Everywhere All At Once is your must-see for this year and so is Men (2022): https://kaygazpro.com/2022/06/29/men-2022-drama-horror-sci-fi/, another A24 cinematic achievement. I may constantly sound like I’m sponsored by A24, but rest assured I am not. I praise them because they have the guts to produce scripts that other production companies wouldn’t even read ten pages. They are phenomenal in what they do and they immensely add to the worldwide cinema’s evolution.
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A CIA agent becomes the agency’s target and all hell breaks loose.
Great cast, great potential, and a tremendous waste of both. Not uncommon for a special agent’s job to be dubious. Especially, right off the bat. But knowing, right after, that Ryan Gosling and Chris Evans will go toe to toe, most certainly makes it immensely interesting. But is it? The airplane sequence’s development is really, I mean, really uncalled for. Six has already displayed certain skills that brand him a top-tier assassin, but the CGI and the humanly impossible do nothing but take away these abilities, stating that without it he cannot do what the narrative suggests he is trained to do.
Regardless, he gets a chance to redeem himself. What happens next? Loads and loads and loads of human hunting, shooting, and Michael Bay-level of destruction. The “Prague on Fire” sequence is a representative example of that, and, in all honesty, no further elaboration is needed. There is a lot of impressive yet unrealistic action, knock-off Die Hard-esque and half-cooked dialogues that, again, discount its full potential. The good news is Ana de Armas, Jessica Henwick, Billy Bob Thornton, Alfre Woodard, and the well-anticipated confrontation of Gosling and Evans.
Producers/directors Anthony and Joe Russo were given $200m dollars to make it, deeming it the most expensive Netflix original film, tying it with Red Notice (2021). While the Russos know how to shoot both action and dramatic sequences (and Christopher Markus and Stephen McFeely how to write them) – Captain America: Civil War (2016), Avengers: Infinity War (2018), Avengers: Endgame (2019), etc., The Gray Man falls really short. While the multi-chopped style of editing seems to be the obvious reason, if during principal photography the choreography is not well prepared, or if the actors are not given the opportunity to fully express themselves without being cut, the editing can only do so much (damage or good). Unfortunately, that particular childish narrative represents the side of Hollywood that only cares about the cash cow and not the audience’s intelligence. Oh! And, once more, everyone could have also been a fragrance or an underwear model. #
Is it worth your time? Well, it’ll make you forget your problems for a couple of hours, make you smile a little, and send you to bed.
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After her husband commits suicide, a young woman escapes to the countryside only to encounter horrors she would never expect.
A24… The production company that aims at the different, the radical, the unconventional. Starting off with Harper (Jessie Buckley) and only getting a glimpse of what is hunting her, we take the trip straight to the countryside where she’ll be residing for two weeks – that is the plan, anyway. Geoffrey (Rory Kinnear), the house owner with British-English you’ll definitely admire and will put a smile on your face, shows her around, and so, the main players and environment have been established. But…
The first plot point, the beautiful yet extremely scary tunnel, instigates the thrill; it is where your heart will skip the first beat. From then on, the naked man, the troubled kid, the eccentric Vicar, the police’s incompetence, and everything that happens till the end Act II escalates the horror to the next level. Not a lot can be explained but that’s what enhances the mystery. The eerie and haunting operatic music throughout the montage sequences will keep you at the very edge of your seats, inarguably, mouth agape. “Paranoia” doesn’t even begin to describe it! Beware of the entities presented inside the church. Also, beware of the dandelions as well. Both of them play a significant role to the narrative’s understanding. And this is where I stop.
Alex Garland, the writer/director of Ex-Machina (2014) and Annihilation (2018) and writer of 28 Days Later (2002) and Never Let me Go (2010) is not a crowd-pleaser, and, consequently, is not for everyone. His lens serves his narrative well, offering realistic thrills to surrealistic scenarios – from alien invasions to men going utterly berserk. Jessie Buckley and Rory Kinnear absolutely shine in front of the camera!
If you are not British or not accustomed to British folkloric tales and myths, you’ll be utterly confused. If you are, you’ll get the gist, but won’t be able to explain it, anyway. And that’s the goal. In an attempt to find answers, I only got more confused so, as intended by the filmmakers, I only provided a few possible explanations to myself – without meaning that they are the right ones. Because there is no right one.
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P.S. In reality, in the English countryside, you will encounter the most beautiful places and the most beautiful people.
A young woman moves with her husband from America to Romania, and soon she realises that someone is watching every move of hers.
A deceiving, slow-burn thriller with a great leading actress. Why deceiving, huh? What you know and what you think you know is not the same. Ostensibly, the plot revolves around a young woman who is afraid that someone is watching her, and, potentially, following her. The subplot revolves around the same young woman who is lonely, in a foreign country, alone (for the most part), arguably depressed, and who neither speaks nor understands a word of what everyone’s saying. Until you know for sure, the line between the plot and the subplot is vague.
Zack Ford’s script and Chloe Okuno’s lens keep the narrative restricted. Okuno, like a watcher (pun intended), follows Julia wherever she goes and depicts reality as perceived through her eyes, only. Respectively, Michael Block’s editing discloses what you need to know, hiding carefully what you want to. The result of both is the deception mentioned above. Maika Monroe is an amazing and massively underrated actress. Watching It Follows (2014) and The Guest (2014) one can tell how much still she has to offer, especially in the horror/thriller genre. Also, Burn Gorman’s portrayal as a lonely man is brilliant.
It is a horrible feeling to be surrounded by an unfamiliar environment, language, and people, especially when being in an unstable mental state. Nothing and no one is what they seem to be. And Okuno and Monroe nail that feeling!
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In the not-so-distant future, certain humans evolve in unexpected ways, and while some embrace it and see the artistic side of it, others only want to suppress it.
Intricate, interesting, and largely unspecified. It’s been eight years since we last saw a feature film from David Cronenberg – Maps to the Stars (2014) so, brace yourselves. The first act, and the Orchidbed in particular, inevitably leads back to Cronenberg’s early films that gave him his unique identity – The Brood (1979), Scanners (1981), Videodrome (1983), etc. Such elements can also be found throughout the rest of the film (the Sark autopsy, the Breakfaster Chair…) but it’s not just the prosthetics or the visual effects. The surrealistic acting, the Kafqu-esque atmosphere, the blurry distinction between art and science, and the dark consideration of what both are, constitute a dystopian, decadent future (not far from present-day) whose reality seems to belong to another Earth similar to ours, with humans identical to us, but with (un)natural elements and behaviours that are barely recognised or understood. The Fly (1986), Naked Lunch (1991), and eXistenZ (1999) add to the films mentioned above and, in their own respect, they have shaped equally different realities.
From a filmmaking point of view, admittedly, I didn’t find it challenging. Douglas Koch’s photography serves the narrative well, but that is pretty much is. The narrative in and of itself though is. Cronenberg has a long history of examining society through the lens of sexuality and technology and Crimes of the Future isn’t an exception. The new ways of experiencing pleasure, the alien-like technology that fulfills specific needs, and the evolution of people who consume… “plastic”, are all allegories of the world we live in. Did you get them? If yes, what did you think of them? How effective were they? If you thought they weren’t, why?
I find it hard to imagine how Cronenberg pitched this script, especially when it came to defining the audience. Shot entirely in Greece with actors from all over the world, the film has, on one hand, a universal taste, and, on the other hand, a small crowd to follow. Viggo Mortensen, Léa Seydoux, Kristen Stewart, Scott Speedman, Lihi Kornowski, Don McKellar, Nadia Litz, Tanaya Beatty, Welket Bungué, and Yorgos Pirpassopoulos do a great job in front of the camera, but the narrative is such that can leave you undecided in regard to their chemistry.
To every Cronenberg fan: Watch it! Can’t wait to hear your thoughts on it.
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A Viking prince devises an elaborative plan to avenge his father’s murderer.
Vicious, challenging, and visually compelling! Whoever follows Robert Eggers’ films, The Witch (2015) and The Lighthouse (2019), knows he’s famous for surrealistic acting, expressionistic photography, protracted shots, and idiosyncratic vernacular. And The Northman is no exception.
The first thing that needs to be mentioned is that Eggers worked closely with historians and archaeologists to meticulously visualise the medieval Scandinavian legend, namely Amleth. And if you are aware of Shakespeare’s “Hamlet”, I’m sure you can put two and two together. The Northman is Eggers’ first studio-level film, and, reading the interviews he gave, one can tell that it is not the film he initially had in mind, but its final cut is not a result he is disappointed with either. That old story in Hollywood’s book where the studios always interfere with the creative processes…
The dialect used, even though not easy to write or speak, will not blow your socks off like it did in his previous films. The reason is that the gore and the violence take the torch and lead your senses to a medieval spectacle where the slaughter of men, women, and children was the way to resolve differences and show superiority. While the film represents a specific historic era and should serve as a reminder that civilisation has evolved, today’s far-right decided to perceive it as a reminder that this is how things should be. Maybe, let them be the reminder that comparing two totally different eras and peoples is a historical fallacy, and their way of thinking is a representative example of unfathomably bottomless buffoonery.
Alexander Skarsgård, Anya Taylor-Joy, Nicole Kidman, Claes Bang, Ethan Hawke, Willem Dafoe, and all the rest of the cast give stupendous performances! Give it a go, it is an amazing cinematic experience you will not regret!
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When two robbers hijack an ambulance, they manage to turn a simple heist into a full-scale manhunt.
High-octane action that does not convince, but most certainly entertains. Michael Bay… The man behind the most phantasmagorical cinematic explosions, car crashes, plane crashes, endless verbosity, epidermic dramas and yet, the man who has got the world unfathomably excited like few before him. And that’s exactly what the Ambulance is going to do; excite you.
Narrative-wise, what you sign up for is what I mentioned above – minus the plane crash. From a filmmaking point of view, you get: Dutch angles, areal shots, close-ups, extreme close-ups, tracking shots, slo-mo’s, Steadicam shots, over-the-shoulder, dash-cam shot, and all that in the mix, edited in the most fast-paced sequences you’ve ever seen. So, what did I think of it? I loved it! This is exactly the fictional action-packed films we all need to blow some steam off and forget out real-life issues.
The cast includes Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza Gonzalez, Garret Dillahunt, and more. While the situation is extremely unrealistic, they work really well with one another, creating an electric and entertaining atmosphere. Having said that, after an hour and thirty minutes, the ambulance starts running on fumes – pun intended – and becomes repetitive. Interestingly though, the film dares you to draw the line between the good and the bad guys. And it does it well.
Based on the Danish film Ambulancen (2005), which runs almost an hour shorter than this one, Chris Fedak’s script offers nothing but excitement. The excitement of guns and shootings that belongs to the big screen, the small screen, and the books. The excitement that belongs to fiction! The excitement that has no place in the real world and, especially, schools! I hope everyone gets to find peace in their heart except for the gun lobby. I hope they find the justice they deserve.
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P.S. There are two clear homages to great films: To Live and Die in LA (1985) – Driving in the wrong direction, and Terminator 2: Judgement Day (1991) – Driving in the LA river.
Fleeing her ex-husband, a mother with her young son move to a secluded house where a dark and sinister force resides.
Mysterious and eventually dramatic, yet doesn’t manage to hit the spot. Putting it on knowing nothing about it, I felt quite neutral, at first. Even though the narrative is quite restricted, the audience knows less than Laura and Cody and, therefore, is trying to catch up on cues such as Cody’s recurrent nightmare and the constantly ringing phone. The first plot point (the bridge between the first and the second act), arguably, builds up the suspense and increases the tension… only to calm down again immediately after. Overall, should you decide to watch it, you might find the pace and rhythm fluctuating “irregularly”.
I remember Christina Ricci when she was as young as Cody in The Adams Family (1991) and, in a way, I grew up watching her grow up in her films. She’s a tremendously talented actress, having played diverse and perplexed roles, and she deserves every praise under the sun. For reasons that only she and Hollywood are aware of though, she started choosing films that didn’t have much to offer to the genre they belonged to. Having said that, admittedly, there are a couple of films she’s been in and I would like to watch.
After everything is said and done, looking back to Carol Chrest’s script and Chris Sivertson’s directing, one can say with certainty that the drama overcomes the horror in the end and you can tell because of how heavy your heart feels. I know how mine felt, and that was mostly due to Ricci. As said above, she is a remarkable actress and always lives up to her standards.
Something that might help you watch it in a positive light is the little references to her mental health. Furthermore, the party sequence got me a bit as did her attempts to keep it together. There are some strong moments there, but, as I have repeatedly said, the sum should always be greater than its parts.
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Two siblings escape their home and hide in an abandoned school, but the “Song of Life” will unexpectedly change their lives.
Concise, current, and thought-provoking. Writer/director Sheng Qiu brings to life the intentionally unemotional, Double Helix that shows without telling that “life” has yet to be defined.
Protracted shots, montage sequences, minimalistic soundtrack, underplayed performances and “Lynchian” narrative examine the ancient human attempt to become God and its inevitable consequences. Based on Jinkang Wang’s famous science fiction novel “Song of Life”, Double Helix combines Mary Shelley’s “Frankenstein” with the superfluous human need to explore boundaries we could overcome, but not necessarily should. Great watch! I hope one day we get to see the feature, preferably, with both Xi’an Cao and Zhenzhen Xiaoli. Extra credits go to cinematographer Ranjun Xu, and editor Jianfan Yu.
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A young mother and her son move out to the Irish countryside, but not long after she begins to suspect that it might not be him anymore.
Dark, atmospheric, and suspenseful! Strong inciting incident, followed by solid suspense build-up. And after that… it only gets better! Photography, Art Direction, and Visual Effects create a dark and eerie atmosphere that accompanies the equally dark and eerie narrative. The first stroll in that forest will most certainly convince you…
Mysterious and suspicious events will follow and, sooner or later, with the boy acting the he does, you won’t help but get a feeling of The Omen (1976). But if you think the boy is scary, wait until you meet Noreen, the woman who has sunk into the deepest psychological abyss. So, in regard to what can scare you the most, between the forest, the kid, and the old lady you have quite the choice to make. Eventually though, I don’t think that any of them is more scary than the feeling that your only child… is not actually yours…
The Hole in the Ground joins my pantheon of Irish horror films* that manages, in a tiny budget, to evoke all the intended feelings. Writer Stephen Shields and writer/director Lee Cronin write and direct respectively a solid horror which draws elements from ancient folklore legends to modern psychology. Seána Kerslake, James Quinn Markey, Kati Outinen, and James Cosmo do a wonderful job in front of the camera, believing in Cronin’s vision and projecting the intended fears onto the audience. Arguably though, the ending could have been shorter and a lot scarier if it had maintained the, until then levels of plausibility. But, that is subjective so, it’s up to you to decide. Regardless of what you think of the third act, this is a highly recommended indie horror. A24 is always on top of the game!
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* A couple of Irish horrors that stood out for me in recent years are:
A single, pedicure therapist who lives with her younger brother is trying to make ends meet while dealing with personal tribulations.
Dreams, sacrifices, and the unbearable hardships of life… Gripping opening act that distinctively introduces the characters, sets up the scenery, and presents the ordeals they have to face. Director Qisheng Gao amazes with the number of protracted shots that provide the opportunity for the actors to unfold their thespian skills and for the audience to absorb, on one hand, the tiny, yet significant details of the mise-en-scène (all the visual information within the frame), and, on the other hand, what one of the greatest film theorists, André Bazin, kept emphasizing on; the drama’s realism. Furthermore, Gao’s slow-paced editing does not rush the story, controls the film’s pace and rhythm, and reveals the key information the audience needs to know, when they need to know it. Inevitably, that increases their anticipation in regard to what and when they want to know.
As for the narrative itself, it hits the nail the harshest possible way as it addresses the ancient battle inside us of who we are, who we want to be, and who society wants us to be, in times where the bills can hardly be paid and the food on the table can barely suffice. While Gao deserves every praise under the sun, actress Yanxi Li crawls under the skin of the role, becomes Rong, and masterfully conveys the silent pain a woman in her position endures to keep her head above water while trying to save whoever around her is in need of salvation.
And all that while a dark secret lies underneath the surface…
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Five single women from different cities discuss what love means to them and why it is difficult to find it.
The intricacies of love and human relationships… What do five women of different age, cities, and social and financial backgrounds have in common? The difficulty to find love. From a young, successful entrepreneur to a struggling, divorced mum, the search for love turns into a life quest for a number of women in China and it makes one wonder why it takes Tracy Dong’s lens to bring it to light. We live in a world where the technological advancements have propelled the means of communication, and yet we struggle like never before to find our other half that will make us happy. Messsenger, WhatsApp, Viber, digital matchmaking platforms, such as Tinder and Plenty of Fish, or simply texting and calling have made it immensely easy to reach out to someone that potentially matches our standards, and, yet again, we still struggle to find that common denominator. One may wonder what happened to the “face to face” contact…
Dong’s omniscient lens “infiltrates” these beautiful (in and out) women’s lives and reveals the number of ways they are trying to find men to like them, and, surprisingly or not, she shows that appearance is not the problem. What women think of themselves, what men think of them, and what they expect from one another raise absurd expectations and create intricate scenarios, making it extremely hard for people to truly connect. To understand that respect and trust cannot be demanded, but only earned.
Extremely well-structured, non-judgmental, and humorous documentary from Tracy Dong that deserves to see the publicity lights, and surface that middle ground called understanding. Kudos as well to all the women that came forward to present to the world, in the simplest possible way, one of the most basic human needs; how they feel!
We don’t deserve to be alone. So, let’s not be…
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In 1979, a young crew of filmmakers rent out an isolated house to shoot an adult film, but when its elderly hosts find out they reveal their sinister intentions.
A horror like only A24 knows how to do! What the police come across in the opening sequence is the result of a massacre you’ll see all about it. So, 24 hours prior to that, the crew packs it up and sets off for the house that will make everyone famous and rich. The adult film that will change everyone’s life. The shoot that will accomplish everyone’s American dream. With heroes, antiheroes, villains, and old houses straight out of the Texas Chainsaw Massacre (any version), the set-up is ready for the bloody inevitable – pun intended.
From a filmmaking point of you, the editing tells beautifully the parallel stories between the film’s shooting and the old “lady’s” story while breathtakingly building up the suspense. For a while, it might feel like that nothing is happening, but I assure you that it is the calm before the storm. After the verbal reference to Psycho (1960), the visual one confirms the pending bloodbath. Gruesome moments follow that hold no punches and, undoubtedly, cut anyone’s breath short. There is no way to describe them without giving the gore away so, I’m just gonna leave it here.
Writer/producer/co-editor/director Ti West creates a good old-fashioned horror that deserves the cinematic experience with like-minded people or the company of your own self. His narrative abides with the horrors of the era it represents, and Eliot Rocket’s photography, the make-up, and the special effects department deserve separate praise. As for the editing, West and David Kashevaroff, on one hand, naturally, unfold parallel stories, and, on the other hand, break almost all rules of pace and rhythm by connecting sequences… unnaturally. While film theorists would laugh at the way X has been edited, I’d say that the splatter and gory nature of the film justify just about any technique under the sun. Intentionally, the porn shooting within the film does not fall far from the film itself.
There are some really strong moments there, such as the stealthy crocodile, the granny waving, and, more or less, every gruesome murder you see on screen, and these moments are very much worth your time. Furthermore, watch out for the impressive performances from Mia Goth, Jenna Ortega, Kid Kudi, and Britanny Snow. Highly recommended!
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Solidarity for Ukraine 🇺🇦 🙏
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P.S. Bare in mind, that throughout all this I was alone in the cinema.
When a family moves into an old house and the daughter disappears, the mother realises that a sinister entity dwells in the cellar.
Interesting, but standard. I remember watching Elisha Cuthbert in films when she was a teenager. Now, she is a mom of one. So, I’ll try, to my best ability, to pass on, objectively, constructive criticism. There are a lot of outdated techniques here, such as: constant background music to enhance the fear / suspense (the picture should always suffice without it), something’s about to happen but isn’t happening, overreacting to nothing, and, of course, jump scares! For example, I understand the need for creating atmosphere, but Ellie holding a candle while talking on the phone that she could have put on speaker phone and use its torch to see much better where she is going is… irrational. And such irrationalities are scattered throughout the film.
Kuthbert was, among others, Kim Bauer in 24 (2001-2010), Danielle in The Girl Next Door, and Carly in House of Wax (2005). As much as it is hard for me to differentiate her from those roles, I must say that she does a great job as a mom of a teenage girl she once used to be and she is a very decent actress. Brendan Muldowney’s The Cellar though will never be celebrated as they don’t stand out at all due to both outdated narrative and filmmaking techniques. It’ll just make you forget whatever is troubling you for about an hour and a half.
Admittedly, the “steps-counting” sequence is unexpectedly suspenseful, the mathematical equation is quite innovative, and the ending is very befitting. But the whole should always be greater than the sum of its parts. And in this case, it just isn’t.
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