“The World of Apu”
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on the origins, the decades of contestation, the development and expansion, the impact, and the current status of the found footage horror subgenre. I hope you enjoy the ride.
A struggling fisherman, obsessed with catching a particular fish, finds a new purpose when a mysterious woman suddenly shows up in his little island.
Difficult to say much without giving away spoilers. Acting and cinematography are “Serenity’s” strong suits. Directing and editing do their best to reveal the right information at the right time, keep the suspension at the highest level, and the viewer constantly engaged. Does it work? Not for the majority of it. Why?
I have the suspicion that by reading the script, the film’s good intentions would be revealed. On screen, this is not the case. The story itself is all over the place and that heavily affects character development. The film is definitely not as bad as some claim it is but with A-list cast and crew certainly one would expect more.
As with any other film, watch it and shape your own opinion. You might like it, you might not. At least, you’ll know the reason(s) why.
Two lifelong friends decide to go on a journey following the scenic route but their car breaks down, leaving them stranded in the middle of nowhere and surfacing suppressed feelings of a lifetime.
Indie, low budget, and absolutely stunning! The Goetz Brothers’ Drama/Thriller, penned by Kyle Killen, disguises itself as a dark comedy and makes you laugh out loud with its sheer brutality, and Josh Duhamel’s and Dan Fogler’s raw, natural talent. Laugh out loud and, admittedly, think to yourself “Damn, I wish I had said that when…”. The thought-provoking and carefully written story, the meticulous mise-en-scene, and the profound acting create a highly entertaining and compelling journey of self-discovery.
Beware though! As much as the journey itself is a reward, this one’s destination is a spine-chilling thrill. With a jaw-dropping twist that glues you to your seats, the grand finale, accompanied by Mike Einziger’s mesmerising soundtrack, takes your breath away and stays imprinted long after the end credits scroll down.
Don’t miss out!
Haunted by his personal demons, a man finds himself struggling with an unbearable debt and enters a world of obscure gambling where every move might be his last one.
Epically mental! An amalgamation of “Scott Pilgrim vs The World” (2010) and “Sucker Punch” (2011), masterfully put together with pure Chinese artistry and temperament. Remake of the Japanese film “Kaiji Ultimate Gambler” (2009) – an adaptation of the “Kaiji” manga series – “Animal World” mesmerises straight from the opening sequence and earns its stripes in the evolution of Chinese cinema.
Through brilliant editing and directing, and visual effects that bring the hero’s cognitive manifestations to life, director Yan Han unfolds a world within a world. A cosmos where love, brotherhood, perseverance, loyalty, and betrayal lead to one’s self-discovery and ultimately… their destiny. A journey revealing that math’s complexity pales in comparison with human nature’s intricacy. A life’s lesson that man came from an animal… and still remains one.
For Shiying. Thank you!!!
In a world that technology controls every aspect of life, a technophobe not only finally embraces it but also upgrades himself to solve his wife’s murder.
Producer/Writer/Director Leigh Whannell, who penned the script for “Saw” (2004), and Blumhouse Productions bring to life an action/thriller that mustn’t go unnoticed. Logan Marshall-Green gets into the role and does a brilliant job as an ordinary man who’s going through… an upgrade and comes out extraordinary.
Visual effects that help the story move forward and the story itself easily avoids cliches and gimmicks. A highly recommended, low-budget sci-fi set in an ostensibly utopian future but with a lot more realism than meets the eye.
A bank robbery goes awry for a getaway driver who tries to figure out who double-crossed him while finding a way to save his and his family’s life.
Frank Grillo at his best. Realistic action hero in a high-octane low budget film. Netflix always hits the nail when they decide to go behind productions like this one where, more or less, everything goes right. Right tempo, right duration, and right balance between action, crime, and mystery. Feature debut for writer/director Jeremy Rush who starts off really strong.
Claustrophobic at times, gripping, edgy, and engaging, “Wheelman” is, thankfully, not your typical Hollywood blockbuster with unnecessary explosions and nonsensical CGI. The best value for money you can get, and highly recommended for the Frank Grillo and action-fueled film fans.
An American airborne unit lands on Nazi-occupied France only to discover a horror beyond the Nazis.
Brutal, savage, and sadistic, “Overlord”, keeps you on the edge of your seat. If there is anything worse than the Nazis, that is the realization of their twisted psychosis. Focusing on “Operation Overlord”, an operation that took place in parallel with “Operation Neptune” (both of them put together became known as D-Day), J.J. Abrams produces Julius Avery’s historical horror where “Band of Brothers” (2001) meets the “Night of the Living Dead” (1968).
Strong first act with an even stronger opening sequence, practical visual effects that beat CGI every single time, and acting that makes its implausibility easy to swallow. Is it flawless? Nope. Is it to be taken seriously? Not really. Does one forget their problems for almost two hours and get sucked in? Hell. Yeah.
A lot of unnecessary negativity surrounds the film but people tend to oversee sometimes why a film could have possibly been made, the purpose it might serve, and the unpredictable outcome an experimental genre mixture may have.
I’ve said this before, I’m saying it again, and I will keep on saying it: I don’t aim at the film but the intentions behind it.
While their father is facing time for his notorious crime, two siblings, just for having his name, have to face society.
Dark, existential, real, and made in Canada! Low budget, indie film that went under the radar due to, mostly, negative reviews. The depiction of a small society can be negative for numerous reasons but it can also be, unfortunately, painfully realistic. Every character plays a role that moves the story forward, towards a path that human perception of love, bigotry, reputation, and family values counts and shapes society as we know it.
Feature debut of the very promising writer/director Scooter Corkie with Dianna Agron, Shawn Ashmore, and Jared Abrahamson leading strong. Daring and thought-provoking, “Hollow in the Land”, deserves your attention as it opens the door to the kind of cinema that impresses with its simplicity while portraying something so intricate… Us!
Ivan Drago has a son… and they are coming to claim the heavyweight title from Balboa’s tutelage, Adonis Creed.
Is it enjoyable? It is. Is the training inspiring? It is. Is the acting convincing and the editing pacing the film as it should? Definitely. Is Tessa Thompson amazing? Hands down. Then what seems to be the issue?
I would put my finger on a few issues:
- The first one is obvious, “Creed II” looks like a remake of “Rocky IV” (1985). But it’s a continuation based on “Rocky IV”, which makes it… repetitive?
- Other than repetitive, the story is also quite predictable and formulaic.
- As with every other “Rocky” franchise and “Creed” (2015), there is at least one training montage sequence. “Creed II” montage, as amusing as it may be, doesn’t add anything to the equation.
- Lacks the strong verbal confrontation between Rocky and Ivan after more than three decades.
The aforementioned issues weaken “Creed II”. But there is one last issue which is more intricate and challenges the film… Before the first fight, Adonis doesn’t know what he is fighting for. Then, he figures it out, trains really hard, and goes again. The reason he decides to fight him is not as compelling as Viktor’s. Adonis has a much better life. Viktor’s life (and Ivan’s) is more dramatic and we, as an audience, feel the need to see him stepping into the ring and winning. Adonis’ reason is ego-driven. Simple as. Remember why he stepped into the ring in “Creed”? To prove that he’s not a mistake! Which made the audience get the goosebumps, even shed a tear, and root for the underdog which conquered the world.
The film financially did well. The devil is in the details though and these details could have made it a valuable addition both to the franchise and the spin-off.
Hundreds of years from now, the world as we know it has been destroyed, the remaining cities have been mobilised, the major cities are hunting down the smaller ones, and two youngsters do everything in their power to change the status quo.
I’ve spoken before about budget and creativity as I have spoken before about the transferrable problems of a script to the big screen. I guess it was meant to be a saga but chances now are slim to none. Remember the “Golden Compass” (2007)? I’m not surprised. “Mortal Engines'” visuals are stunning. Hands down. The cast does a pretty decent job too; that is not a problem either. What was it then and it bombed?
Every time I watch a film, I’m always looking for that shot. The shot that will make me say “damn”! And then I’ll have to rewind and so can watch it again. What I’m also going for is a good line. Something that will make me say “I wish I have thought of that”! So, when independent films with 1/50 of “Mortal Engines'” budget have both, and “Mortal Engines” has none, it is only natural not to be impressed. To add insult to the injury, the same applies for the editing. Not only is there not even one good montage sequence, but the whole film feels rushed. It feels as if it got “chopped” fast to flush you non-stop down the FADE OUT.
Just “From the Producer of…” won’t cut it. Because as a household name, if you bring it up, you have to live up to your expectations and the reputation that precedes you. Shame really. Not for the money thrown away really, but mostly for the actors who want to catch a big fish, they let the small ones go, and they end up catching a boot.