My Son (2021): Crime/Drama/Mystery

After suspecting that his son has been kidnapped, a father does everything in his power to find him.

A parent’s worst fear depicted in a sorrowful, yet mysterious way. For starters, James McAvoy could not be a mediocre actor even if he tried his best. The guy is phenomenal! His acting is out of this world. Writer/director Christian Carion, who adapted his own homonymous film My Son (2017), applied the same technique he did back then: Everyone but McAvoy had received the script so his reactions to every stimulus of the story is genuine. On to that story, then…

The first act is about the missing boy, the parents’ tribulations, the mother’s new boyfriend, and their triangle. Somewhere there you get the odd questions from Inspector Roy that start complicating the issue further but the focus, rightfully, stays on the parents and the missing boy. Until then, the drama and the mystery are well-balanced and one can only feel for the both of them and hope for a happy ending. Imagine I hate happy endings and I most certainly wished for one.

The second act is taken over by mystery where McAvoy, like Liam Neeson without a plan, but hell-bent on finding his son, applies some basic investigating skills. The outcome of his actions is natural and believable as he has not previously displayed any similar skills whatsoever; just a dad willing to do anything to find his son. Eventually, it turns into a nail-biting thriller that in the end… confuses with the turn of events. There might not be a narrative twist, but there is an emotional one. Personally, I found myself wondering how the ending is befitting and even though I understood it to some degree, it evoked mixed feelings inside me. It seemed somewhat rushed and even though throughout act I and II bothered to explain what was going on – which you might find unnecessary – it abruptly ended giving away nothing. Again, I understand open endings, but I struggled, and still do, to find meaning in that one. But that is just me.

I hope you enjoy the thrill it has to offer and yet another stupendous performance from McAvoy. Quick note: I’ve praised Claire Foy in everything she has been in before, and her acting here is nothing but remarkable too. I just think that she deserved more screen time.

Stay safe!

Other People (2016): Comedy/Drama

An underachieving gay writer returns home after many years to support his terminally I’ll mom… and face the rest of the family.

The type of American cinema that knows what to cut out, when, and how to balance feelings. Succeeding in making a comedy/drama is as hard as making a comedy/horror. And Other People will make you laugh as much as it will make you cry. Jesse Plemons and Molly Shannon make an excellent on-screen duet and writer/director Chris Kelly gives them the opportunity to shine and evoke all the intended emotions.

Tragicomedy describes all three acts with little things such as the milkshake order, which in its simplicity I found genuinely hilarious, or mum farting. The dialogues are authentic and the performances are immense. There is so much I could say to connect film theories on cinematic realism to the independent American cinema but I see no reason to do so. Therefore, I’ll keep this one shorter than usual and hope that you get the chance to watch it and laugh and cry and, respectively, recommend it to as many people as possible to share your experience. Because, as we tend to think, real-life events such as the ones unfolding in the film are situations experienced only by… other people.

Stay safe!

Joe Bell (2021): Biography/Drama

A father from Oregon makes it a mission to walk to New York and preach along the way against bullying after his teenage son gets tortured for being gay.

Mixed feelings throughout all three acts. Right off the bat, from the first flashbacks, the first impression is that a working-class dad who surprisingly supports his son for being gay does not support him enough to have him parade it in his front yard. Therefore, my question was: his problem was showing it off? Then, I thought to myself that it is biographical so if this is how it was, this is how it was. Then, I got a different problem. As the story develops, I thought that it doesn’t let you think for yourself at all; it spoon-feeds you the message all the way through. It forces you to side with Jadin by telling you – not showing you – who the “bad” guy is and who the “good” guy is in a black or white manner. Then, there is another “then”: Jadin accusing Joe for not being supportive enough, and Joe accusing Jadin for not handling it (in present era) creates a vague gray area in the film’s otherwise “black or white” scheme for the supportive people but questions their level of support. Here’s my two cents in general…

People, and more specifically bullies, need to feel what it is like to be bullied without being bullied, hated or criticised for thinking and acting the way they do. They need to understand that to other people they are as different as the people they pick on. I did some research and this is what the real Joe Bell tried to do. He was non-violently preaching against it because his son faced the consequences and he wanted, to his best abilities, to make the world a better place. A friendly for all of us place so no one has to suffer what his son did, and, consequently, any other boy, girl, man, woman, or non-binary person out there.

Somehow though, Mark Wahlberg as Joe Bell, the late Larry McMurty (RIP) and Diana Ossana’s script, and Reinaldo Marcus Green’s directing does not reflect that. Joe Bell does not know where to focus on and massively holds back on the emotions it means to evoke. Take for example when his mother, Lola (Connie Britton), finds out. This should have been the moment where the toughest one breaks. And one wonders, how can this be with so many A-list names wearing the producer’s hat: Mark Wahlberg, Cary Joji Fukunaga, Jake Gyllenhaal, Paris Kassidokostas-Latsis, and 17 more…

To cut the long story short, Joe Bell makes it more about Joe Bell rather than his incredibly noble and courageous mission. Ironically, he says it himself to the sheriff while opening up. And he keeps doing it. Shame really as if it wasn’t for this film I, and potentially hundreds of thousands of others, wouldn’t have known about this mission. But the real shame is that his mission’s message doesn’t really permeate. It does not sink in and therefore there is nothing much to take away from it. And the Bell family’s story is absolutely f@£$!^% tragic!

I really do hope each of us finds an honourable way to make this world feel like… home. For everyone!

Stay safe!

All these names in production

The Woman in the Window (2021): Crime/Drama/Mystery

An agoraphobic woman witnesses a crime that, in order to take action, she will have to face her deepest fear.

Interesting premise, great acting, yet fails to deliver on many fronts. Amy Adams, Gary Oldman, Julianne Moore, Jennifer Jason Leigh, and Wyatt Russell are great. That’s the elephant in the room. Tracy Letts’ script and Joe Wright’s directing create a significant issue though: they increase, by the minute, the distance between the audience and Anna – admittedly, not intentionally. The close-ups are plenty, and so are the Dutch angles, the tracking shots, and the low and high angles throughout. It would be very interesting to ask the editor, Valerio Bonelli, about his experience editing it. It feels like its pace is all over the place and its rhythm like a song you want to like but you are too confused to dance to it. Bonelli seems like the person who puts together scattered pieces of visuals that the filmmakers had no idea what to do with. That causes the twists to not being able to find their place in the plot and, consequently, they lose their gravitas. The fact that A.J. Finn’s book has been receiving raving reviews and the film nothing but scathing, makes Wright’s film a mediocre adaptation for the big screen. I haven’t read the book though therefore, I cannot really comment on that, just putting it out.

This is a character-driven story that shouldn’t have been Brian DePalma meets Alfred Hitchcock, but Body Double (1984) meets Rear Window (1954). It’s a real shame to have so many talented people involved in front and behind the cameras and get that head-scratching result. Too many techniques and influences that, ultimately, cancel each other out and leave the audience indifferent, at best. In the end, I didn’t know if it was the plot’s drama or the final cut’s that made me want to cry. I’ll go with the latter.

Stay safe!

Upstate Story (2018): Drama

A peek at the week of a man who struggles to go through it.

Well-written story that deserves some budget to take off. Upstate Story is the case where the script is better than the film. Not because writer/director Shaun Rose doesn’t have the skills to pull it off, but strictly due to budgetary restraints that don’t allow him to develop it the way he envisioned it.

Upstate Story surfaces an enormous problem that many people fail to address and, consequently, deal with; the unfulfillment. The notion that we could have done so much more with our lives if were just given the chance. What makes it worse, is asking, to the point of begging, for this chance from people who have been given that chance and didn’t deserve it to begin with. And then time goes by and that chance seems further and further away, sucking, at first, our energy and then our lives like a black hole of despair. And while these nihilistic thoughts consume us like woodworms, during these darkest hours, Upstate Story‘s hidden positivity urges us to always hang onto whatever we consider a lighthouse in our lives, and be guided by it so we don’t crash on the rocks.

Ellis Martin is a real-life, relatable character that can be developed into a person that one day will find the purpose he so eagerly seeks and write a book called “Against All Odds” or “Finding the Strength”, but he can also become the person who grabs a gun and enters a mall. He represents a surprisingly huge portion of people out there who have unexplored skills that could make all the difference in the world. A person’s thoughts represent them and Ellis’ choice of words renders him the poster-child of the endless Freudian battle between id, ego, and superego.

Yes, few minutes from here and there could be shaved off in the cutting room and, yes, a lot more could have been done to make it visually more impressive, but that leads us back to the no-budget-indie-filmmaking issue. Just try to be in the hero’s shoes for an hour and, maybe, imagine that this minimalism expresses and represents countless people who struggle with a dead-end nine to survive job. If it were a small-budget film, it would have swept through the festivals and be an Oscar bait if Billy Bob Thornton was in it. Even so, it was selected as a semi-finalist at the Los Angeles Cinefest, and it’s a proud winner of the Feature Film Silver Award at CINEMAFEST 2018.

Stay safe!

Let Him Go (2020): Crime/Drama/Thriller

After losing their only son and their remarried daughter-in-law moves away against her will with their grandson, a retired sheriff and his wife set out to bring them back.

An amazing on-screen couple in a suspenseful, yet emotionally superficial story. My suspicions about the depth started with the inciting incident which was the death of their son. It would have really made me cry if writer/director Thomas Bezucha let Kevin Costner be the actor he really is and then cut to Diane Lane’s response. A father losing his only son is a scene that would break anyone in half. Let alone followed by the mother’s reaction. And Let Him Go… lets it go quite easily – no pun intended. I get the hard-macho-old-sheriff-ranch man who doesn’t show many feelings but even they develop strong bonds with their sons (but also daughters).

Having said that, what Bezucha does well is build up the suspense. The moment they start asking about Donnie Weboy it gets quite intense. It gets, actually, surprisingly intense. And then they make it to dinner with the Weboys where I could hear heartbeat. I say no more about that because you need to watch it for yourselves. But the emotions keep fluctuating throughout and neither build up nor reach climax. Shame really because the story has all the right ingredients that are lost in the plot’s development.

Diane Lane and Kevin Costner were a great couple as Clark Kent’s parents and are a great couple here as well. They play it really well from the beginning, to the motel’s room, to the revenge. Let Him Go is definitely worth-watching and even though it could dwell on the drama a lot more it most definitely transcends the difference between the way men and women think and how that affects them both. Plus, the final scene in the house pays off.

But forget what I or anyone else thinks about it and, as I said, have a go at it. It is Lane and Costner in the same film. In the meantime…

Stay safe!

Lorelei (2021): Drama

A man who just came out of prison is trying to rehabilitate, but life seems to have more downs than expected.

Working-class problems and unfulfilled dreams portrayed in a disjointed way. Watching it I was trying to figure it out… I was wondering… why is it that I find it disjointed? Halfway there, it somewhat hit me. It felt like writer/director Sabrina Doyle hasn’t experienced what she has written and directed. And, if I’m mistaken and she has, she hasn’t been able to translate it to the screen. The same applies to Pablo Schreiber and Jena Malone’s capacity as executive producers because as actors they are doing a fine job, but as producers they should have contributed, I believe, a lot more. They are really great actors, but Doyle’s script and directing ties their hands behind their backs. I honestly feel like the film misses the depth it deserves and both Schreiber and Malone shine – Schreiber especially put a lot of effort both physically and emotionally. Malone, on the other hand, is amazing as she always have been in every film she’s been in.

Regardless of what I say though, Lorelei did critically well and I couldn’t be happier about it. Sounds contradictory? I couldn’t be happier about a film doing well that deals with working class issues, second chances, and chasing dreams. And that’s what it deals with at the end of the day. The chances we have been looking for in life and we were never afforded. The dreadful questions every morning when we struggle to get out of bed; what have I done wrong or why I cannot fix it? Lorelei‘s intentions are honest and even though it could have been made differently, it still urges the viewer to go after their dreams. I hope one day we all manage to stay up all night and watch the sun rise from the ocean.

Stay safe!

The Vanishing (2018): Crime/Drama/Mystery

A wooden chest full of gold and greed initiate a chain of events that leads to the disappearance of three lighthouse keepers.

Intense, dark, suspenseful, unpredictable, and superb performances! Knowing that it’s based on the mystery of the Flannan Isles’ actual lighthouse keepers and their controversial logbooks, The Vanishing becomes the absolute thrilling treat. The film’s beauty is that even though you know what will happen in the end (the title and tagline imply it) it makes you want to know the speculation of what will become of them. The “when” and “how” alone intensify the suspense and overshadow what we think is obvious. Furthermore, the shockingly realistic performances make you want the resolution to be delayed so you can see more of Peter Mullan, Gerald Butler, and Connor Swindells on screen. Special mention deserves the editor Morten Højbjerg who knows when to cut and, more importantly, where not to. His editing focuses on the performances and let’s the shot “breathe” enough so you can get the full experience of the thespians. My only objection is the ending which, I believe I speak for all us when I say that, we were really looking forward to it. I found it anticlimactic when so much could have been done with it. Even though the script is the most obvious candidate to take the fall here, director Kristoffer Nyholm should have been the one to expand further and give the open ending the film deserves. Unfortunately, this is not the case but that’s what I think anyway. Maybe, you’ll feel otherwise.

Maybe, we’ll never find out what became of them 120+ years ago, but upon watching it we can tell with certainty that films like this showcase Butler’s true talent without having to water down his amazing Scottish accent. Hollywood should have been utilising his skills a lot more in films such as this rather than in typical cash cows. Having said that, Greenland (2020): https://kaygazpro.com/2020/11/30/greenland-2020-action-drama-thriller/ was realistically terrifying and him and Morena Baccarin were excellent leads. The same applies to Mullan who’s versatility is undeniable – see Ozark (2017) – and he’s breathtaking in everything he’s in.

Definitely worth the shot for an intriguing night full of mystery and a show-don’t-tell lesson that everything comes with a price.

Stay safe!

Gaia (2021): Drama/Fantasy/Horror

Two forest rangers go deep into a jungle where nature is an ancient force to be reckoned with.

Visually stunning with a convoluted, yet powerful message. Great opening sequence that warns: If you were not born in this jungle… Do. Not. Enter. You would never guess! They did (face slap). Well, just think of it this way: if they hadn’t, we wouldn’t have watched it, and I wouldn’t have reviewed it. So, does Gaia live up to its expectations?

From a filmmaking point of view, you get Dutch angles, 180 degree reverse angles, drone long shots, tracking shots… everything! While we are at it, Jorrie van der Walt’s photography is truly admirable. This will be probably the first time you watch a film with the aspect ratio changing four times throughout it to cover from the forest’s vastness to the heroes’ most claustrophobic feelings and deepest fears. Leon Visser edits the film with mastery, maintaining the continuity, battling confusion, and effectively building up the suspense. His work’s peak though is the hallucinatory montage sequences that create micro-narratives within the macro-narrative and makes us feel even more lost in a reality that has nothing to do with ours. Costume designer Mariechen Vosloo deserves also a round of applause as everything Barend, Stefan, and Gabi (later on), wear is handmade! Kudos to their amazing effort. Finally, Pierre-Henri Wicomb’s original music, the art department, the sound department, the visual department, the make-up department, and all cast crew deserve a tremendous recognition as, without their hard work, this film, like any other film, wouldn’t have been made.

Writer Tertius Kapp and director Jaco Bower have created a world in the heart of ours with plenty of visuals and strong opinions. Somewhere in between, Bower felt like constantly teasing us with Stefan and Gabi’s sexual tension and, for better or for worse, he left us hanging. Maybe, one of the reasons is the focus on the message. I am not going to go into it as you need to pay attention to Barend’s couple of monologues on civilisation. They are powerful as they are intriguing. Utterances like these, written in lockdown, leave quite a bitter taste because they carry dark and painful truths that came to the surface while feeling like living, as many people experienced it, in isolation. As per IMDb, the lockdown was announced a week into the shooting so most of the crew parted ways in different time, to different places. The film’s message expresses that loss we all felt – some more than others – and the aforementioned truths sting us, and the society we live in. There is a poignant accusation in the Biblical references and the way we have been functioning as humans individually but also collectively. There is a great resemblance to In the Earth (2021): https://kaygazpro.com/2021/06/18/in-the-earth-2021-horror-sci-fi-thriller/ and there is a lot to compare and contrast. I found Gaia‘s ending psychologically brutal, but depressingly befitting.

How this pandemic has affected our lives and consequently filmmaking has already started showing, but I have a feeling that its full force has yet to strike and therefore it’s still patiently building up. As much I adore dark, horror films, deep down, it aches when you know how many people have unfathomably suffered (especially) the last couple of years. The news on a daily basis broadcast from drama to horror and the child inside me wishes these genres belonged only to the cinema. I hope you are keeping well wherever you are, whatever you do.

Stay safe!

Pig (2021): Drama/Thriller

A truffle hunter who lives alone in the woods returns after many years to the city that once gave him a reputation after his pig gets kidnapped.

Pig is the kind of film that when you know nothing about it you get a surprising cinematic experience. Well, you get that with most Nicolas Cage films anyway, but the narrative looks like Pig was written for Cage, and that’s it. Therefore: unexpected narrative + Cage = double the surprise!

I’m just going to give you a one-line summary and keep it short in avoidance of spoiling the crucial parts. The once best and hard as nails chef in Portland, who also had an extraordinary reputation in underground restaurant fights (???) and once disappeared into the woods resurfaces himself, raising hell when his pig gets kidnapped. I mean… WTF?! How does one green-light such a concept? How does one even conceive it to begin with? It sounds to me like writer/director Michael Sarnoski, a David Lynch fan, liked John Wick (2014), smoked a couple, and then put it together. Remember, everything is happening because someone stole his pig. How does Lynch come into play? The two Cage monologues. The first one sounds completely irrelevant – or is it? As if Rob listened to a different story and recited something from a different movie. Check Amir’s reaction that reflects the audience’s. Which brings us to the second one… the second one is all about Chef Derek’s (David Knell) close-up reaction as the story evolves. His reaction is priceless. To me, that is Lynch through and through and Sarnoski brilliantly encapsulates it.

There is so much I could say about this film, but I won’t. I’ve already said enough and it will just ruin the experience. The principal photography lasted 20 days and all cast and crew should work like a Swiss watch as the budget was tiny. And after they actually did, about an hour was taken out in the cutting room for Neon thought it was too long.

Definitely worth the watch! Will you find meaning, eventually? Only if you put your phones down, turn the lights off, and understand why Rob’s journey takes place. A journey explicated though his stories and attitude towards people and circumstances. But also… what the pig means to him and why. I hope you enjoy it!

Stay safe!

Arctic (2018): Adventure/Drama

Long after his plane crash-landed in the Arctic, a man must decide whether to stay at the crash site or set out for the unknown to seek help.

The European way of unfolding a narrative with a touch of Scandinavian darkness and a taste of Icelandic identity. Writer/director Joe Penna and writer/editor Ryan Morrison have beautifully paced the drama that leads to the fork that saves your life or points you at certain death. And regardless what road you take, you can’t know which is which. Until it’s probably too late… Penna and Morrison have been collaborating since the beginning of their career to this very day. If you haven’t watched their sci-fi Stowaway (2021), you definitely need to: https://kaygazpro.com/2021/04/28/stowaway-2021-drama-sci-fi-thriller/. Special mention deserves the cinematographer Tómas Örn Tómasson – native Icelander – who knows exactly what he needs to shoot and how. All three collaborate perfectly behind the camera and give you a great value for your money.

And while all crew works tirelessly behind the camera, the person in front of the camera that cuts your breath is non other than the highly expressive and diverse, Mads Mikkelsen. All the struggle, the frustration, the agony, and the horror is written on his forehead while he’s trying to keep it together and save both their lives. Seeing is believing so, go for it and see for yourselves.

Arctic, Penna’s feature film debut, rightfully, received a 10-minute standing ovation at its premiere, at the Cannes film festival. Interestingly, only a few months ago I watched George Clooney’s The Midnight Sky (2020) https://kaygazpro.com/2021/01/04/the-midnight-sky-2020-drama-fantasy-sci-fi/ and I couldn’t help but compare the differences and similarities. As much as it’s tempting present them or some of them now, I’ll resist. They are, essentially, different films and for different reasons I liked them both. If you watch or have watched them both though, ask yourselves this: What drives you? What is it that keeps you going through life’s hardship? When all hope seems lost, how do you find the strength to “squeeze hard”? Don’t undermine Clooney either as both him and Penna present the world through their lens. As we experience life through our eyes.

Stay safe!

Fear Street: Part Two – 1978 (2021): Drama/Horror/Mystery

The only survivors of the 1994 incidents, in an attempt to find a way to stop the evil, meet one of the survivors of the 1978 incident who remembers the horror.

Great modern, pop horror/comedy flick that entertains! Part Two resembles a lot more the 70s than Part 1 does the 90s. I guess cinema (technologically) evolves and it can’t really reenact the past. The vintage look seems to be just… gone. But then the atmosphere cannot fully be accurate either. Most likely, because very few from the cast and crew were alive or old enough to remember how people were talking or acting. There are film archives and means to find out but, as of yet, it seems that this accuracy will always be missing. I guess yet another reason will always the consideration of the audience. If it was ‘too 70s’ who would watch it?! Netflix seems to have established a particular audience already. It may be socially diverse but otherwise it looks quite narrowed down. Just in case you feel like casting stones, I have already surfaced and will keep surfacing exceptions that are shock to the system – especially its documentaries.

Focusing more on the film, as I kind of mentioned above, Part Two is entertainingly brutal! McCabe Sly makes a decent possessed/psycho ‘axe-man’ and Saddie Sink and Emily Rudd great on-screen sisters that face their personal demons way before the ‘axe-man’ starts taking heads off and everyone starts running amok. Overall, the sub-plot smoothly permeates the plot and both of them patiently escalate and lead to climax. The references to Stephen King (and ‘Shining’, for whoever got it), Friday the 13th series, and a couple of more that I cannot reveal, indicate the hard work that the crew has put into it to give us a good-feel, ‘throwback-style’ horror. Indicative, composers Marco Beltrami and Brandon Roberts have done an excellent job with the soundtrack, paying a great tribute to the one and only Jerry Goldsmith.

There are a few flaws that I could pick on as there are numerous strengths that I could point out (such as the sisters/climax scene). But I’m not gonna do it. Leigh Janiak seems to have a lot of passion for what she does and she does it well. Watch it, enjoy it, and… onto Part Three!

Stay safe!

P.S. It was great seeing Gillian Jacobs and Ryan Simpkins again in the same movie. Especially, after their stellar performances in the brilliant and underrated Gardens of the Night (2008): https://kaygazpro.com/2020/09/17/gardens-of-the-night-2008-drama/

The Tomorrow War (2021): Action / Adventure / Drama

On ordinary day, a group of soldiers arrives from the future to warn and train people and send them to the year 2051 to fight.

Visually stunning naivety for the whole family! Past the inciting incident, one can spot a realistic approach right off the bat. An approach that will soon be replaced by a high dose of Americanism. I’m not saying this is a good or a bad thing, but I’m saying that it focuses on a particular type of audience. Why I focus on that more than other times? Because it’s meant to be addressing international audience. It’s about saving the world and not a particular country.

During recruitment and basic training, I didn’t really feel it. Stanley Kubrick set the example in 1987 and it seems that Hollywood is still struggling to evoke or balance emotions. As the first encounter with the aliens, coincidentally, John McTiernan set another example the very same year. Scrolling credits aside, the film is about two hours and ten minutes and it still feels rushed. Something a tad more comparable to Full Metal Jacket and Predator respectively, would be War of the Worlds (2005). Steven Spielberg first dealt with aliens in the masterpiece Close Encounters of the Third Kind (1977) and, in 2005, he blew our socks off with realistically dramatic reactions to events deriving from science fiction to our deepest fears.

I’m gonna stop rumbling now though cause I sound bitter and spiteful and that was not my intention. So, I’m gonna end with a huge positive note. Director Chris McKay has brought to life Zach Dean’s script and the result is, generally, fulfilling. The film’s strongest moment is the closure of father/future-daughter relationship which is well shot and written and most definitely pays off. While at it, Yvonne Strahovski gets my round of applause here as she shines. It’s like she’s so proud of taking that role and she acts like it. She’s amazing. The Tomorrow War is a decent sci-fi summer flick with a number of standard Hollywood flaws but a great way to spend just over two hours with your favourite company – that includes your own. We may have not been attacked by aliens or saved the world yet, but we surely need a good-feel action to excite us a bit. Give it a shot. It’s worth the shot.

Stay safe!

P.S. You need to check these trivia about J.K. Simmons and his physique:

https://www.imdb.com/title/tt9777666/trivia?item=tr5821635

https://www.imdb.com/title/tt9777666/trivia?item=tr5821752

The Unholy (2021): Drama/Horror/Mystery

A disgraced journalist accidentally stumbles upon a girl that performs miracles that are of unholy nature.

Too fast, too soon, too much! Screen Gems used to know about how to build up horrors, but, as it’s Sony’s property, ends up producing standard, mainstream Hollywood, spoon-fed popcorn flicks. It’s like they summed up a bunch of clichés and put them together, making absolutely sure they didn’t miss any. What really makes you wanna keep watching is Jeffrey Dean Morgan. And if you have kept watching, it gets a tad better. Actually, you’ll get to find out what the Vatican considers a miracle and how they disprove it. Is that enough to keep watching tough?

My issue with the aforementioned standard Hollywood films is that they treat them as byproducts. Cheap meat coming out of the grinder for masses the studios consider unintellectual. Taking that into consideration, the studios seem to be taking no chances to explore different types of narrative. In The Unholy, the writing, after the inciting incident, gets solid, it’s just there is nothing to watch; nothing visually stunning stands out. Plus, all the information you want, the moment you want it is there. That decimates the suspense and leaves you with cheap jump-scares and nothing more. There are nano-to-low-budget films that break the rules or even invent new ones. It’s a shame to have millions to spend, be a mid-tier player, and take no risks. Why is this happening? As said earlier, they think that their audience is dumb. And that’s not nice. Horror fans are eccentric as they are insightful. Horror fans are resilient and are always up for the challenge. Studios should respect that and should challenge us with everything they have.

Oh, did I mention that CGI ruin horrors? I’m telling you again, the story is solid but the way plot unfolds ruins it and the CGI follow as a wrecking ball and smash it down. My comments are quite bitter not because of writer/director Evan Spiliotopoulos who does a decent job, but because of producer Sam Raimi who used to dominate the genre and now he has given in to Hollywood standards and, as I’m a huge fan of his, I expect so much more because I know he can do so much more. And I hope we get to see that sooner rather than later.

Oh well… At least, devout Catholics will get (even more) confused about faith and Church. That’s something.

Stay safe!

A Quiet Place Part II (2021): Drama/Horror/Sci-fi

Right after losing her husband, Evelyn needs to take her kids to a safe place and find a way to use their new “weapon” of defense.

Intense, horrifying, and breathtaking first act (Day 1) that captivates before catching up with the present. From then on, and after the first “hunt”, the pace slows down but the thrill remains.

The parallel stories unfold equally well and their suspense escalates effectively, maintaining the initial thrill. And for that the credits go to the film’s editor, Michael P. Shawver. The good editor controls at all times the film’s pace and rhythm and reveals what only needs to be revealed and not what you or I would like to be revealed. The good editor also knows the footage they have, weaves the story’s plot, and defines the final cut – alongside actor/director John Krasinski, in this instance. The problem with so many match-cuts and identical parallel action is that it makes the plot more sci-fi than the alien beings themselves. That level of synchronisation, potentially for more mature audience, ruins the whatever believability a genre like that can have. Regardless, Krasinski’s greatest achievement here is directing the actors. He proves to be an actors’ director and that shows in the dramatic sequences – that’s what I think anyway. Without drama there is nothing to be thrilled about or anyone to empathise for. Speaking of, the incredible performances from Emily Blunt, Cillian Murphy, Millicent Simmons, Noah Jupe and Djimon Hounsou make you feel for each and every one of them for everything that’s happening to them. Furthermore, pay attention to the excellent use of sound… or the lack thereof!

There will always be the question regarding whether certain decisions were stupid or not, but then, if not every, almost every classic horror deals with ambiguous or moronic decisions for narrative purposes. A Quiet Place Part II respects its audience’s intelligence and offers a post-apocalyptic sci-fi/horror worthy of its predecessor that, in just over an hour and a half, excites and makes you forget pandemics, lockdowns, increased number of cases, vaccinations, and ridiculous politics.

Stay safe!

Another Round (2020): Comedy / Drama

Four high school teachers go out one night and decide, as part of an experiment, to consume daily certain amounts of alcohol and observe how that affects their lives.

Rightful Oscar and BAFTA winner for the ‘Best International Feature Film’ and ‘Best Film Not in the English Language’ category, respectively! Actually, all 41 wins and 55 nominations are firmly deserved! Extremely well written, shot, edited, directed, and acted! Another Round is Denmark’s instant classic! The first act patiently lays the foundation for the character establishment and justifies the reason and bizarre philosophy behind the unprecedented experiment. Each and every one of them has a story to tell and a way to contribute towards it. The second act sets the cogs in motion and bears the fruits of their experimentation, shocking the audience with its pseudo-scientific data and the pseudo-realistic cause-and-effect results. Writing, editing, framing, directing, and acting work together perfectly, creating a dark, yet realistic effect that alcohol has on us but also the people around us. We get to experience through Martin, Tommy, Nicolaj, and Peter how life’s difficulties can cloud our judgement and mislead us to places that no human should ever visit, but, ironically, learn from them and come back stronger. Or not…

The third act is the narrative’s kind of unexpected culmination but most definitely the totally unexpected hero’s arc. There is nothing I can say without spoiling it so, it is up to you to watch it, connect the dots, and, above all, unleash your feelings. Just know that it’s all Mads Mikkelsen doing it.

Martin was meant to have a son and a daughter, with the daughter being the director Thomas Vinterberg’s daughter. Tragically, four days into filming, at the age of 19 she died in a car crash – the film was dedicated to her and was shot in her old classroom with her classmates. I can’t even begin to imagine how he completed it. Part of the film’s idea was hers as alcoholism has been having a severe effect on Denmark’s youth for years now. As Vinterberg put it, the film is: ‘a survey and exploration not only of alcohol usage but of the uncontrollable.’ Another Round is a must-watch and is no wonder why it became critically and financially successful. A lot of heart and soul has been put into it and is available for you to explore.

Stay safe!

Crisis (2021): Drama/Thriller

The stories of an undercover cop, a grieving mother, and a professor facing a dangerous dilemma interweave as they find themselves fighting, in their own way, the war against drugs.

Very well-structured and paced thriller from the very beginning. The inciting incident occurs in the opening sequence and from then on, every player is introduced in minutes, making clear of who they are and what they do. The tragedy that hits Claire, every parent’s worst nightmare, is expressed vividly and tearfully by Evangeline Lilly. Respectively, Armie Hammer, Gary Oldman, Michelle Rodriguez, Greg Kinnear and Luke Evans become the characters they represent and shine on screen. Indira Varma, and Mia Kirshner, even though having small roles, add to the film’s great cast.

Crisis unfolds like a bomb waiting to explode. A pharmaceutical corporate thriller, an undercover mission, and a mother hell-bent on finding what happened to her dead son, gradually, through meticulously paced editing, start blending into one story that pins you to your seats. All three stories are equally dramatic and thrilling so when they come together you get the full force the script intended to offer. Nicholas Jarecki, the man behind Arbitrage (2012) pens that script, acts in it, and directs it and manages to attract a plethora of the aforementioned A-list actors.

I’m afraid, I’ll have to address the elephant in the room. Due to Hammer’s bad reputation and accusations the film did not perform well but let me be clear… thousands of people have worked on this film and they deserve recognition. Don’t let one name prevent you from a very decent cinematic experience. Crisis tackles very successfully, if not the most, one of the most severe plagues to have ever hit this planet. And it’s a realistic depiction of the war I mentioned above. A war that, unfortunately, seems to have no end. I hope you enjoy it.

Stay safe!

The Father (2020): Drama

An old man who refuses his daughter’s help feels like losing the earth under his feet when his home and his people around him keep constantly changing.

A soul-destroying cinematic realism when your life comes crashing down. Based on the homonymous play by writer/director Florian Zeller, and co-writer Christopher Hampton, the cinematic adaptation does indeed resemble a play and the interchangeable locations 1 and 2 confuse as much as the restricted narrative dictates. The Father‘s suspense is not caused by the nature of Anthony’s condition; it is caused by the way it affects him and the people around him. What’s more, as it is an extremely sensitive subject, it is also caused by how it will be approached by Zeller and how it will be delivered by Sir Anthony Hopkins. Ultimately, as the narrative unfolds, the nail-biting suspense is caused by the heart-wrenching drama that raises the question, what will become of him?

The Father‘s full force hits you on two levels: One, on the level of having a beloved person suffering from it. In this case, you are the one experiencing their transition from one of the most dynamic person in the world and, maybe, your true inspiration in life to someone you wish they never become; someone who doesn’t recognise you anymore and… you don’t recognise either. Two, on the level of suffering it yourself. In this case, whoever you may have been in life, are not anymore. Disheveled, helpless, or “losing all your leaves” may be ways to describe it, but no one has or ever will be prepared for when it, unfortunately, happens.

Either way, no one should ever wish it to their worst foe but, fortunately, word has it that, around the date of this review, certain scientists may have had a significant breakthrough. I truly believe that all of us, no natter where we are in the world, however we look like, whatever we believe in politically or religiously, regardless of our sexual orientation… are keeping our fingers crossed and our hopes high. Remember, no disease has ever discriminated.

Excellent music by Ludovico Einaudi! Feel free to listen to the film’s soundtrack over and over again. Extra credits go to Cinematographer Ben Smithard, Production Designer Peter Francis and editor Yorgos Lamprinos. “Anthony”, is named after Hopkins himself who was the first and only choice for Florian Zeller. If it wasn’t for him, he would have adapted it for the French audience and even though I’m positive the experience would have been equally shuttering, it would definitely be different. Olivia Colman, Olivia Williams, Rufus Sewell, and Mark Gatiss have a great chemistry with each other and deliver powerful performances. They are absolutely amazing. Sir Anthony Hopkins’ performance is the one though that in the end will break you, take your breath away, and, maybe, make you reevaluate your life’s journey from the moment it started to where you are now, to where (you think) it’s heading.

Stay safe!

Time out of Mind (2014): Drama

A homeless man is going from shelter to shelter, trying to find a way to approach his estranged daughter.

In a depressing and honest way, it reveals an America that most people turn their blind eye to. One can easily extrapolate and claim that it reveals a world most people turn the blind eye to. Writer/Director Oren Moverman, the man behind The Messenger (2009), Rampart (2011), and The Dinner (2017) does an extensive research on homelessness in New York and brings to our attention an issue that we walk past daily no matter where we live. Richard Gere, a man who is in real life an advocate for the homeless, fully understands Moverman’s vision and commits 100% to the character, delivering a totally different than usual performance. Cinematographer Bobby Bukowski frames him through reflections, amongst bystanders, and from a distance (also careful when to go close), and shows without telling how George positions himself within society. Respectively, editor Alex Hall leaves those protracted zoom-in and zoom-out shots uncut, making the audience “look” for a significant amount of time what the bystanders don’t – parallelism with ourselves that have probably done the same in real life. Excellent example of mise-en-scène and how it creates meaning.

The off-screen space though also speaks volumes. Very interestingly, most of the times, you are listening to dialogues that come from an unspecified location. With a decent surround one can tell if it’s from behind, left, or right but it is of no importance. What matters is that it is happening, George listens to it as we do, but as he pays no attention to who says what, it stays out of the frame. A personal interpretation is that all this diegetic sound is pointing at how loud and verbose the big city is and how little it matters to someone who doesn’t know if or where is going to find his next meal and bed.

I highly recommend this film, but a warning needs to be issued. The film feels like one act. Something that someone should have probably notice in postproduction and shave off about half an hour. Time out of Mind feels endless as, unfortunately, nothing is happening. Ben Vereen and Jena Malone support him to their best abilities but their role is limited. Once again, unfortunately, what at first seems to be an extensive character development, stagnates the story development, and can lose the audience’s attention with its inactivity.

Stay safe!

Nobody (2021): Action/Crime/Drama

An ostensibly ordinary family man is proved to have certain skills when he becomes the target of the Russian mafia and the vicious lobby behind it.

Every time someone was telling me “it’s like John Wick“, I was replying “You know it’s written by the same guy, yeah?”. If you ask me, A History of Violence (2005) is a lot more similar to Nobody‘s plot, so it’s kind of one-meets-the-other kind of thing.

As for the film itself, admittedly, it’s very entertaining. Bob Odenkirk has a certain style of acting that transcends frustration and anger like very few nowadays can. One could argue that he actually acts/expresses certain aspects of his character. Regardless, he is the man for this job and Nobody proves that Hollywood can turn you from a lawyer who can’t slap a mosquito (Saul Goodman) to an ex-black-ops “badass” (Hutch Mansell) in no time. Fair enough! Nobody shows that his acting range is surprisingly wider than we all thought and the fact that he had been training for two years prior to the film’s principal photography to nail the part, speaks volumes about his dedication. Speaking of acting, I can’t leave the legendary Christopher Lloyd out who nails every part that has been given to him in his 46-year (and counting) career. Furthermore, Connie Nielsen adds to the cast with her talent and beauty, and brightens up every shot she’s in.

Ilya Naishuller, well known for Hardcore Henry (2015), shows once more that he knows how to approach hardcore action scenes, and, more importantly, Derek Kolstad’s meticulously written action scenes. Ari Aster’s Director of Photography, Pawel Pogorzelski, and experienced Hollywood editors Evan Schiff and William Yeh complete the main crew and give an extremely satisfying result that will make you want a sequel or, at least, a prequel of the film.

The plot holes are humongous but do yourselves a favour and leave them out. The action-packed sequences and phlegmatic humour definitely compensate. I hope you enjoy it and forget, even for an hour and a half, the dark times we are still going through!

Stay safe!

Oxygen (2021): Drama/Fantasy/Sci-Fi

A woman wakes in an advanced pod, not knowing exactly what it is, and how or why she got there, but she only has ninety minutes to find a way out.

Claustrophobic and captivating! From the very beginning the questions “what’s happening?” and “how on Earth is she gonna make it?” are raised. As the narrative unfolds, the next question is “what would I do if I were her?”. Before even putting it on, Buried (2010) came to my mind which is probably the most claustrophobic film I have ever watched. Therefore, unintentional comparisons were unavoidable.

Oxygen lets you “catch your breath” a lot more than once which I’m not sure if it should have. What’s more, I object a tad with its constant non-diegetic sound, and let me tell you why. I would assume, without wanting to know for a fact, that if I were trapped in there I wouldn’t be listening to any music. Just my increased heartbeat and my heavy breathing – the dietetic sound. But that’s just me.

Writer Christie LeBlanc and director Alexandre Aja restrict the narrative till half-way through. What you know is strictly what Liz does. When the subplot becomes clear(er), the twist is revealed, everything starts making sense, claustrophobia is lost, but relatable to all of us drama replaces it. In short, there is a culminating moment that defines the outcome and justifies everything that you have found out that far. And that is as far as I go. I hope you enjoy it!

Aja has given us brutal – and I mean brutal – horrors such as Haute Tension (2003), and The Hills Have Eyes (2006), some funny or less believable horrors such as Piranha 3D (2010) and Crawl (2019), but also more psychological or paranormal ones such as Mirrors (2008) and The 9th Life of Luis Drax (2016) – and Horns (2013). Oxygen successfully adds to his list of horror/thriller diversity.

Despite their similarities and differences, I will make only one comparison between Buried and Oxygen: The identical dolly-out shot. I am sure Aja has watched Rodrigo Cortés’ film and I found it very interesting, even peculiar, that the exact same shot was used. Anyway, if you haven’t watched Buried, and you somewhat liked Oxygen, then it’s a must-watch!

Last but most certainly not least, Mélanie Laurent nails her part and without her superb performance, everything else would have failed. She’s absolutely amazing and gets my round of applause!

Stay safe!

On the Bridge (2021): Drama/Horror/Short

Driving in the middle of the night, a man stops when he sees a woman sitting at the edge of a bridge, he sits with her and listens to her haunting and sinister story.

DISCLAIMER: This story contains strong language, and is intended for an older youth audience. Listener discretion is advised.

Based on my homonymous short script, On the Bridge.

© 2021 Konstantinos Papathanasiou. All rights reserved.

Dark Waters (2019): Biography/Drama/History

Unsubstantiated evidence against a giant chemical company is thoroughly examined by a corporate defense attorney who sees what everyone else was turning the blind eye to and goes tooth and nail against them.

Dark Waters‘ cast and theme are its two major selling points: Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Pullman, and Bill Camp need no introduction and no matter what I say can make them better thespians than they already are. Which brings me to the second selling point straight away, the theme. One person trying to take down a colossal chemical company while having everything to lose – special emphasis on “everything”.

Automatically, in my books, whoever dares that against any company of that magnitude, or any magnitude, or their government is a hero, and half an hour into the film, you want him to crash them with everything he’s got! Rob Bilott is one of the most relatable kind of heroes out there, the world needs more of him, and we root for him to do what the rest of us can’t – or haven’t had the chance yet. The narrative is thrilling, dramatic and unfolds beautifully through parallel editing that moves the story forward, provides the necessary information, and increases the tension to pin you to your seats. Ruffalo is the man of the hour and who could direct him better than director Todd Haynes who has mastered biographic films or films “based on true events”.

It makes you sick to your stomach that innumerable companies like these get away with such crimes for so long or forever. Makes you sick that money is worth more than lives – human, animal, and plant. There are two major takeaways here:

  1. However you think you’ve had it bad, there are people who have had it a lot worse than most of us.
  2. YOU can make a difference! No matter how small you think you are, no matter how much “you against the world” you feel, you can make a difference!

Stay safe!

P.S. Are you ready? As per IMDb: “DuPont’s stock price dropped by 7.15 points from 72.18 to 65.03 the week this movie was released on 12th November”. https://www.imdb.com/title/tt9071322/trivia?item=tr5294319

P.P.S. I’ll start doing a lot more reviews like Dark Waters.

Nomadland (2021): Drama

Losing everything in the Great Recession, a middle-aged woman decides to lead a nomadic way of life and meet people and explore places she has never had.

There are two selling points here: Francis McDormand and Chloé Zhao. McDormand is one of the best actresses alive and no matter what I or anyone else says cannot praise enough any of her performances. Nomadland is no exception as her performance is a masterclass. The second selling point is Zhao’s documentary-style filmmaking that expanded in seven states, making it look like a chronicle of a nomad who tries to turn a situation around. It is a great modern example of cinema verité that, if anything, will travel you around the states and show you a way of life that you may have not encountered before. As much as I know poverty very well, this lifestyle/tradition is known to me only through films that have not properly explored it. So, I can’t comment on what I heard regarding its inauthentic depiction. Honestly, it would be wrong if I did.

As for the script though, what I was trying to establish throughout the film was if her choices were actually hers and, if yes, to what extent. Did she partially want this way of life? Was this what she fully wanted? Was it escapism – from herself and the people around her? I believe the answer determines the purpose of this hero’s journey. As a huge fan of David Strathairn, I think he deserved some more screening time.

Extra credits go to Zhao’s frequent director of photography, Joshua James Richards whose work is just captivating. Pay also attention to the little, yet very important elements of the film. The use of diegetic (natural) and non-diegetic (music) sounds, Ludovico Einaudi’s piano, the minimalistic editing and montage in its simplest form, the non-actors’ acting, and a side of America and certain American people that none of us really get to see in either studio or indie level. Oscars for: Best Motion Picture of the Year, Best Performance by an Actress in a Leading Role, and Best Achievement in Directing were very much deserved. Actually, all 227 wins & 135 nominations were very much deserved. I hope you enjoy it.

Stay safe!

Mother (2009): Crime / Drama / Mystery

After her son is jailed for a girl’s brutal murder, a mother does everything in her power to prove his innocence.

The mixed feelings begin from the opening shot and extend all the way through the first act. The music, the acting, the character development, the mother/son relationship, and all utterances and actions make one question why IMDb describes it as crime, drama, mystery. Twenty minutes into it, it starts looking that way but still… Yoon Do-joon’s mental disability and the way his surrounding environment and authorities perceive him, makes unclear of what it really is.

The role of his mother though, somehow, despite the human behaviour oddities, in the second act intensifies the drama and turns it into a whodunit with the stamp of Bong Joon Ho. After Memories of Murder (2003) and The Host (2006) and before Snowpiercer (2013), Okja (2017), and Parasite (2019) Bong Joon Ho feels confident directing Mother, most certainly knowing that unpredictable feelings will be evoked. Definitely not for everyone, but it’s the kind of cinema that allows westerners, through art, to discover a variety of cultural idiosyncrasies so different to their own.

Far too many years ago, someone told me that if you end up in hell, your mother will be the only one to find a way to sneak out of heaven, descent, and trade places with you so it is her that withstands eternal suffering, instead of you. Mother ends up being the soul-crushing drama that emphasises on the mother’s sacrifice, loneliness, and unbearable task of carrying a personal cross all the way to the top of Golgotha.

Stay safe!

Stowaway (2021): Drama / Sci-Fi / Thriller

A series of dilemmas and decisions divide a crew on its way to Mars when they discover a passenger who shouldn’t have been there.

Very well-written and shot first act, paying extra attention to the orbital mechanics’ math but also the heroes’ reactions during the launch. The discovery of the stowaway passenger intensifies the thrill and the agony regarding who this person is and why he’s there begins… Well, not immediately!

The second act starts off a bit slow, not interested in providing crucial information straight away. Don’t be put off by that though, pace yourselves. Everything slowly and steadily is falling into place. When the dilemma is presented, questions such as: What would I do… How would I do it… What if I were him… How the hell did it come to that… and maybe more, will get you engaged.

Writer/producer Ryan Morrison and co-writer/producer/director Joe Penna wrote and directed respectively a very claustrophobic drama / thriller / sci-fi full of moral decisions and dilemmas and XYZ Films, as always, made sure to invest in the film’s technological realism for a heartbreaking, yet – kinda – believable outcome. Speaking of believability, Anna Kendrick, Daniel Dae Kim, Shamier Anderson, and Toni Collette give very decent performances and have good chemistry with each other.

The denouement is, arguably, over-dramatised but it still serves the narrative’s purpose. I believe that the lukewarm reviews derive from the desire for more action something that the film somewhat lacks. Don’t be discouraged though, its other qualities compensate and, while in lockdown, having nothing much more creative to do, Stowaway becomes the escapism we potentially need/want.

Stay safe!

Don’t You Shed A Tear (2021): Drama / Horror / Short

A man’s family throws a surprise birthday party for him, not knowing that he suffers from a terminal illness.

This is an exception to my style of writing as, arguably, it has no horror elements. Yet, my aim was to explore a dark side of ours that is kept secret even from the closest to us people, even from ourselves. A horrific side that can be our scariest foe.

DISCLAIMER: This story contains strong language, and is intended for an older youth audience. Listener discretion is advised.

Based on my homonymous short script, Don’t You Shed A Tear.

© 2021 Konstantinos Papathanasiou. All rights reserved.

Ballad for a Pierced Heart (2020): Comedy / Crime / Drama

After stealing her husband’s money, a woman and her lover flee to a small town, but greed, passion, and a series of wrong choices turn everything upside down.

Even though I’ve said it before, I’ll say it again: Yannis Economides is the best Greek / Greek Cypriot actor’s director alive. No one comes even near in the second place. He allows them to improvise to the highest degree, as he allows maximum profanity. This adds to his films’ realism and makes them unique additions to the modern Greek cinema, a cinema that, unfortunately, suffers from wooden acting and writing – even though I must say that, fortunately, this is constantly improving. No matter what, Economides leads the way.

The Ballad for the Pierced Heart, like every other film of his, is structured the way the narrative dictates to be. The three-act structure provides the formula that will lead you from A to B but the dialogue always prevails and, regardless where the A or B stand, it is everything that is said and done in between that matters.

The Ballad was quite unlucky as the moment it came out the pandemic was announced and cinemas shut down. Very highly recommended! It combines neo-noir elements with a Greek reality that is nowhere to be found in the Industry. When the end credits start scrolling and the enthusiasm starts fading, one realises that… OK… certain dialogue and circumstances were a bit surrealistic. How much that matters? Not a tad!

Other than Economides, all his crew deserves a round of applause as it does the brilliant cast: Vicky Papadopoulou, Vassilis Bisbikis, Stathis Stamoulakatos, Yannis Tsortekis, and the rest of the professional and non-professional actors who shine in front of the lens. Well done, everyone!

Shay safe!

Until the Edge of the World (2019): Drama

Not understanding why her father lies unconscious in a hospital, a little girl’s vivid imagination places him on a journey to the moon.

Daniel Bertram’s writing (but also directing), Serhii Reznik’s and Billy Ray Schlag’s ambient music, Alicia Valencia Pollex’s acting, and Knut Adass’ dark cinematography promise, right off the bat, a tear-jerker; a drama that cannot end up well.

The restricted narrative though adds a mystery to it. The audience knows as much as Flo does, or as much as she understands, if you may. It approaches the tragedy from everyone’s perspective; Flo’s, the mother’s, but also the father’s and the restricted narrative affects them too, as no one knows each other’s thoughts or true feelings. In the case of Flo and her mother, they are even unable to understand each other. Interestingly, only the audience is able to experience the father’s inner world, turning us to omniscient viewers.

It definitely follows an unconventional way to tell the story but don’t cast any stones, yet. How do you experience tragedy? And how would you prepare a little kid for it? At the end of the day, is anyone really ever prepared? From an artistic point of view, scenes such as: the non-boiling milk, the rain during a starry night, the reflections, the mixture of colours turning into clouds, and the animated painting, spark our imagination, significantly reducing the situation’s cynical or orthological approach. For example, I’ve never thought of the moon, the Earth’s satellite, in such a poetic or existential way.

I very much recommend it to whoever is looking for a non-traditional / unconventional storytelling. Until the Edge of the World is quite depressing though and may not suit people who struggle in these difficult times.

Stay safe!

The Hater (2020): Drama / Thriller

An overambitious young man uses social media, but also friends and family to achieve his immoral goals.

Two qualities stand out straight away: Tomasz’s manipulation skills and Aleksandra Gowin’s non-linear editing skills. Both of them unfold brilliantly along with the narrative.

Writer Mateusz Pacewicz collaborates once more with director Jan Komasa after the amazing Corpus Christi (2019) – review to follow – and, once more, shock society to its core. There are plenty of scary scenarios and people here… Tomasz Giemza is a person who shouldn’t be walking on the streets. Why? Men like him bring out the worst in people, and remorselessly manipulate them, individually and collectively. In both cases, since all of us have weaknesses, no one can blame us for that. Who is to be blamed though is the people behind the social media who provide support to that manipulation and enhance it by reaching out to larger masses. The social media are merely tools, platforms of communication, but the way the “puppeteers” operate them can shape, control, manipulate, and even tear apart societies. Sacha Baron Cohen very eloquently described one of them as: “the greatest propaganda machine in historythat would even allow Hitler to run his propaganda.

Besides the social media though, I believe The Hater‘s best achievement is Tomasz’s character development. A psychopath with the phenomenal ability to learn from his mistakes and constantly up his game, ending up manipulating the manipulators. Absolutely amazing! You’ll catch yourself loving the way he does it while hating him at the same time.

Last but not least, Agata Kulesza always deserves a separate mention no matter what she’s in. She shines in Pawel Pawlikowsi’s films as much as she shines in this one. She is an Oscar-worthy actress and I hope she wins it one day. Whether she does or not, she’ll always be a first-class thespian.

Excellent example of modern European cinema with profound filmmaking techniques, intriguing performances, plenty of visuals and food for thought. Definitely, a must-watch!

Stay safe!