Following an accident at a pit stop, a man’s wife and daughter go missing at a remote hospital, leading him to go to extreme lengths to find them.
Act 1: An unsettling feeling takes over that cannot be shaken off. From the opening scene to the plot point, an unspecified wrongdoing causes uncertainty as to why this unsettling feeling applies pressure against your chest.
Act 2: The “what on Earth is happening?” thought glues you to your seats as you unsuccessfully try to put the pieces together, wondering if you have missed something, or you have watched something similar before, or if this is a conspiracy vs paranoia.
Act 3: Everything becomes clear until…
Brilliant job from Brand Anderson who brought you Session 9 (2001), The Machinist (2004), Transsiberian (2008), and Stonehearst Asylum (2014), to name but a few, and manages once more to blow our minds away. Read nothing, watch it knowing nothing, and I’m most certainly saying nothing! Turn the lights off, put your phones on silent, and descent into madness!
P.S. Oh… uh… yeah… it’s written by Alan McElroy, the guy who wrote the 5 Wrong Turns! (and yet another remake?!)
P.P.S. Gaz, Thanasis, and my beloved Ioanna, that’s a must-watch for you!!!
After Breaking Bad finale’s massacre, Jesse Pinkman, the sole survivor and now Albuquerque’s most wanted, goes to extra lengths to gather money and flee the country.
It’s only natural to have the highest expectations after having finished Breaking Bad (2008–2013). That’s right, 9 years ago! But El Camino is closure for Pinkman and not for the series. It is important to realise that it doesn’t settle any scores. It is about a man, doing everything in his power to get away and start clean. That’s what El Camino is about. The combination of Netflix announcing it and pitching it the last minute, and people not even wanting to watch the trailer to avoid any kind of spoilers created false expectations, hence the mixed reviews and feelings.
On a final note, Aaron Paul proves to be a brilliant actor once more. And my last sentence is a farewell to the great, astonishing, mesmerising, and colossal human being and actor… Robert Forster! RIP!
A boy’s cry for help lures a pregnant woman and her brother into an endless field of tall grass where an ancient force dwells among its blades.
You know it’s a Stephen King novella when there is an endless field in the middle of nowhere and mazes – Children of the Corn (1984) and The Shining (1980) respectively. If I had to pitch it to someone it would be Coherence (2103), meets Triangle (2009). It is neither though. Coherence is written in such a way to just blow your mind away after insinuating that a comet’s passing will cause… anomalies. Triangle, on the other hand, is very meticulously written, providing the right amount of explanation should one read between the lines. In the Tall Grass provides insufficient information about the element causing this horror, the reason, or the way it does it. The directing and editing deserve the applause here for maintaining the suspense of a film that 90% of it takes place… in tall grass. It definitely deserves a watch. Patrick Wilson is scary as hell and Laysla De Oliveira, Avery Whitted, and Harrison Sloan Gilbertson deliver brilliant performances.
If you are a Stephen King fan this is definitely your year as it marks the third out four films adapted this year, three of which one behind the other; Pet Sematary (April), It: Chapter 2 (September), In The Tall Grass (October) and Dr. Sleep (November).
Three unexplained, identical murders in the city of Philadelphia will make a police officer devote his life to finding the mysterious serial killer behind them.
It piqued my interest from the opening scene. By the end of ‘1988’ – a very well structured and powerful first act – it already had my undivided attention. Don’t let anyone tell you anything about the plot. If you know nothing, keep it that way. In the Shadow of the Moon is a must for sci-fi, mystery, and crime lovers as well as lovers of intricate, non-linear narrative that needs exploring and thought aplenty past the end credits.
I will say that one thing that bothered me though without going into details and spoiling it for you. I can’t remember last time I watched a film… having such a convoluted, mind-bending narrative… keeping a great pace up to the revelation of a brilliant twist… and delivering it in such an anticlimactic way… Shame…
I will conclude by applauding all thespians believing in the project, giving such amazing performances.
Years after the extinction of mankind, a girl, born in an underground facility and raised by an android she calls “Mother”, discovers one day that the outside world is not what she was taught it was.
Very interesting feature directorial debut from Grant Sputore. I Am Mother is a small budget, one-location sci-fi that definitely worths your time. Many questions are raised with some of them answered and, purposefully, some of them not. Read between the lines. Information is carefully revealed and spread throughout the three acts, and that is what paces the story brilliantly.
Excellent performances by Clara Rugaard and Hilary Swank. A huge congratulations to Rose Byrne for providing her voice for Mother but also Weta Workshop for creating her. Last but not least, kudos to all producers and Netflix who spent every penny wisely, proving (once more) that low budget films have as much or more to offer than Hollywood mega-budget blockbusters.
Hint: Who is the woman that inexplicably shows up knocking…
Leaving one of the best music academies as a kid, Charlotte, with a twisted plan in mind, seeks now her old mentor and the younger girl who replaced her.
Daring, perverted, gruesome, and brilliant at parts, The Perfection utilises De Palma’s split diopter shots, Hitchcock’s shower scene ‘staccato’ editing, and Aja’s unsettling way to convey paranoia. Netflix’s new horror avoids cliches, scares, amuses, entertains, and gives you a good run for your money. Allison Williams and Logan Browning, accompanied by operatic music, hold no punches, seduce one another, but also ourselves, and steal the show. Excellent directing by Richard Shepard who masterfully orchestrates everyone and everything. Two things though:
Interesting but quite ironic for Miramax to choose such a theme to produce. Also, I wish it didn’t get that explanatory. It doesn’t leave much to think about once the end credits start rolling. Editing should have left certain information out or carefully reveal some of it at the end of the third act.
Regardless, a definite must-see for the Horror fans.
Four teenagers meet at a campsite when the world gets invaded by aliens and it is up them to save humanity.
Well, well… if I haven’t elaborated before on exploiting kids and races! Anyway, you know what, I’m not gonna go through it again. So, let’s focus on the film itself.
It’s Independence Day (1996) meets Jurrasic Park (1993), meets Stand By Me (1986), meets E.T. The Extra-Terrestrial (1982) (and quite a few more) but, unfortunately, it’s neither! Not even close. On the plus side, it’s fun. Made me chuckle a few times. Should you decide to watch it, don’t have any expectations. Put it on and forget your problems for just over an hour and a half.
An ex-cop shows up in a prison island, shared by 12 Asian countries, where convicts are left to die, with the sole purpose to find his family’s killer and avenge their death.
This one went totally under the radar. The story doesn’t even remotely resemble something that could have happened in reality so, should you decide to watch it, don’t pay too much attention to the parts that don’t make too much sense. Why would you watch it then?
Bruce Khan! As per IMDb, he is the holder of:
- A 4th-degree black belt in Hapkido,
- A 4th dan in Korean Karate,
- A 5th dan in Korean Kwal Bup,
- A 4th dan in Korean Kyeoktooki.
And he is a lot more than that as a person. Like Bruce Lee, he had a severe back injury only to come back stronger. Hats off! He possesses agility, accuracy, speed, power… Honestly, I was not aware of the chap but I’m glad I got to know him. Certainly, I would have omitted certain characters and sequences in the film but once you watch it you’ll see why it was worth your while. Enjoy!
A kindergarten teacher – and aspiring poet – becomes obsessed with one of her students who possesses a unique gift.
“The Kindergarten Teacher” is not just another film about a child prodigy but rather a film about a caring and sensible adult who sees, and wants to act upon, everything that is wrong about today’s world. Unfortunately, in the process, she loses the battle as she becomes obsessed with a kid that is everything she would like to be.
Strong suit: The meticulous character development that builds up, escalates and justifies the teacher’s fascination, and the line that draws and gradually oversteps turning it into fixation and borderline pedophilia – Maggie Gyllenhaal is incredible.
I’m not an expert in poetry but I think it’s the film’s weakest point. In films such as “Good Will Hunting” (1997) or “Gifted” (2017), the charisma itself speaks volumes in regard to why that particular kid or young adult is special. Here, (once again I’m not an expert) I found the kid’s poems… nothing much. And when an adult poetry class finds them extraordinary, I can’t help but wonder why. I have a feeling that if I walked into a poetry class reciting those poems, I would look around me next only to see faces staring at me with a “wtf” expression. But I might be entirely wrong so don’t quote me on that.
I admire Netflix for its diversity which proves time and time again that it’s not afraid to expand its horizons, pleasantly surprise its subscribers, and give them value for their money.
P.S. I can’t remember last time I watched a Maggie Gyllenhaal film that she didn’t have sex in it. #justsaying
Five ex-Special Forces soldiers band together one last time to rob the money of a cocaine cartel boss in South America where everything can go wrong.
While watching the opening sequence, I thought to myself “Netflix hit the nail again”! The moment I started to get to know the characters, I thought to myself “I hope the cliches stop here”. As the story started unfolding, the pit of cliches got full way before half-way.
Really shame. The photography is infallible. Ben Affleck, Oscar Isaac, Charlie Hunnam, Garrett Hedlund, and Pedro Pascal are brilliant actors yet none of them gets the opportunity to fully develop their character. J.C. Chandor, an equally brilliant director who was behind the camera of great films such as “Margin Call” (2011), “All is Lost” (2013), and “A Most Violent Year” (2014), delivers a film this time that does not have one memorable shot. Same applies for editing where no sequence has anything unique or something to talk about.
All these are minor though. The main problem is the script. I don’t know how many times I’ve said it before but I know how any I’m gonna say it; countless!
“You can’t fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.” — Howard Hawks
Besides the action’s inconsistencies and the undeveloped characters, the biggest blow is the dialogue. It is extremely poorly written and the shocking part is that the aforementioned A-list actors were OK with it. It is beyond me so, I’m gonna leave it there.
Should you decide to watch it, I hope you enjoy it.