After losing her mother and accidentally killing her sister, a young girl gets institutionalised, mentally withdrawing to an alternate reality, to produce an escape plan.
There is no real need for yet another review on Sucker Punch but, stumbling upon a horrible critique the other day, I felt like watching it again and writing about it. Directing, acting, cinematography, visual & sound effects, editing, music, casting, costume design, makeup, art direction, stunt coordination, choreography… get 10/10. The opening sequence alone could be a landmark for montage in the 21st century’s Hollywood.
As for the script, this is an excruciatingly dramatic story written and uniquely developed by Zack Snyder. A more symbolic logline could be: A fragile, young girl descends into madness after reality hits her harder than she could ever imagine, not even giving her the time or arsenal to defend herself. Possibly the most artistic way of examining the mind’s coping mechanisms in multiple layers. Read between the lines; there is a huge amount of information waiting to be discovered. For more spoilers, have a look at this one. Very interesting: https://www.imdb.com/title/tt0978764/trivia?item=tr1610675
It’s always easy to cast stones and judge from the comfort of our couch. To go out there and actually do though is what takes real “cojones”. You don’t have to like it. Whoever thinks s/he can do a better job, by all means, give it a shot – and write about your experience. The number of hours and amount of effort put to bring such a film to life is beyond understanding. If you are passionate about German expressionism, Italian neorealism, experimental/avant-garde, or even art-house cinema and you still decide to watch it and don’t like it… at least don’t attack it.
They say words are mightier than the sword. Unfortunately, in this case, it proved to be true.
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…
A kid’s disturbing behaviour gradually starts signaling that a sinister force might be guiding his actions.
The “possessed child” theme has been beaten to death. And The Prodigy doesn’t have an original angle. Acting, directing, cinematography, all work well together. Even the idea is – somewhat – solid. Its development to a story and then to a script though isn’t. It heavily relies on the sound design for good, old fashioned jump scares. Now, the editing could have saved a big part of it but it didn’t. It revealed almost everything in the first act, leaving nothing to the imagination, subtracting the speculation, and consequently, sucking out the mystery. It is not the editing’s fault though.
Producers and directors should have realised that the “horror” audience has seen all that already and brainstorm for new ideas that keep the genre fresh. And in this instance, scary.
After his son gets murdered, a snowplow driver tracks down and goes after everyone responsible for his death.
Hans Petter Moland, writer/director of films with a unique character such as Aberdeen (2000) and his latest Out Stealing Horses (2019), impresses this time by remaking his own film In Order of Disappearance (2014) – all three led by Stellan Skarsgård. The film was shot in early 2017 but was released only recently. I guess it would have done better had it been released before a controversial interview Liam Neeson gave earlier this year.
Politics aside, Cold Pursuit is enjoyable adding some dark comedy to the aforementioned genres, resembling Fargo (1996) and Ghost Dog: The Way of the Samurai (1999). Julia Jones, Emmy Rossum, and Tom Bateman stand out. A lot of similarities can be found with the original film, especially in tone and rhythm, and both of them make one wonder who was Nels Coxman before…
Nine years after alien forces invaded and colonised Earth, an underground movement, stealthily, plans an attack to fight back.
This is not “cinema of attractions”. No “Independence Day” (1996) effects with marching songs while shouting “we will fight” narrative. “Captive State” focuses on the world’s political and socio-economic state after the extra-terrestrials’ colonisation, leaving out the early terraforming practices. As stated next to the title, it is a sci-fi/thriller and not an action film. Political-espionage case scenarios resembling Europe just before WWII cannot be avoided.
The acting is solid and so is the photography and directing. If you asked me what I think it lacks the most I would say emotional investment. I felt hard to engage as the main characters are underdeveloped. Also, the masterplan gets too complicated on occasion even though it offers the desired twist. I guess the script could have gone through maybe a couple of more rewrites.
A perfect example of a groundbreaking sci-fi/thriller came only ten years before “Captive State” and it is none other than “District 9” (2009) – Neill Blomkamp’s finest film to date.
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.
A broken LAPD detective follows a lead on an old case that got her to the decadent state she currently is.
Brilliant concept and even more brilliant execution! Karyn Kusama and Nicole Kidman shine behind and in front of the camera respectively. Toby Kebbell, Tatiana Maslany, Sebastian Stan, and Scoot McNairy provide amazing support, completing a film – a masterpiece I’ll dare to say – that will keep making you question what you know and what you think you know. NOT a Hollywood recipe, and NOT for an impatient audience. An existential, slow-burn, dark, indie cop-drama set in two timelines, holding no punches.
A definite must-watch! You can like it or dislike it afterwards.
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.
Two suspended cops descend into the criminal underworld as they both struggle financially.
Third feature film from writer/director S. Craig Zahler who amazes once more. Cast: Mel Gibson, Vince Vaughn, Tory Kittles, Michael Jai White, Thomas Kretschmann, Jennifer Carpenter, Laurie Holden, Don Johnson, Udo Kier.
After “Bone Tomahawk” (2015) and “Brawl in Cell 99” (2017), “Dragged Across Concrete” is not the shock to the system his previous two films were but lands on screen in a time that “political correctness” has reached its peak. A slow-burn action/crime/drama which infuriates but also entertains with solid acting, writing, cinematography, editing and directing. Realistic and surrealistic dialogues which make one think, in either case, how on Earth did he come up with that (or why on Earth didn’t I think of that first)?!
With reviews as low as 0 and high as 10, you won’t find much in between. Don’t listen to anyone though (yes, not even myself)! Watch it and see where you stand in this world of violence, corruption, rights but no obligations, and opinionated masses that no matter what you say or do will offend… someone.
The world is what we make of it. I vote for communication and respect.
The art of tattoo and the unprecedented darkness of the artist.
Have you ever been to an under-2-minutes short film festival? “The Tattooist” is the poster child of their accomplishment. Terror, paranoia, and unfathomable blackness are synopsised in a minute and twenty seconds of ungodly, deranged insanity.
A short film by producer, writer, and director Michael Wong that needs exploring and expanding and so hope to see it becoming a feature in the very near future.