totally falls apart, our main players [are] totally incapable
A policeman carries around the pain of the mysterious and unsolved disappearance of her best friend from years before when they were on a teenage night out together. But when she finally decides to reopen the case and investigate it herself, she soon finds herself in danger.
Perdida is a mystery crime thriller with some interesting twists and turns, although you can see one of the main twists coming a mile away. Sadly, the just-about-passable acting totally falls apart, our main players totally incapable of even trying to react normally at several crucial moments; indeed, there is no reaction at all at emotional pay-offs. This weird disjunction between what is happening and the performance of the actors is vaguely confusing and certainly ruins the film’s high points.
Several years after a six year old girl is brutally murdered, her mother receives a mysterious phone call from a woman claiming to be none other than her daughter. With the help of a retired policeman and a journalist, our mother struggles to find the truth in the face of grave danger from a mysterious force.
Los Sin Nombre, based on Ramsey Campbell’s 1981 novel The Nameless, is a disturbing psychological thriller horror mystery. It’s dark, broody and grimy. It’s not clear until much later on in the film what actually is going on with her daughter and who this mysterious caller is. When the reveal comes, it’s a bit of a let-down as the back story isn’t fully worked out on screen. None-the-less, the first two thirds of the film make this still worth a watch.
A notable and praise-worthy film with a disappointing ending that hobbles it.
I couldn’t take my eyes off it. Sadly, I don’t ever want to set my eyes on it again.
Mother! stars Jennifer Lawrence as “Mother”, a devoted wife to emotionally damaged artist “Him” (Javier Bardem) who is suffering a debilitating bout of writer’s block. She single-handedly rebuilds his childhood home, which had mysteriously burnt down, in the hope that this idyll in the middle of nowhere will reignite his creative, and perhaps even sexual, passions. However, this paradise-in-the-making is disturbed as a series of unexpected random visitors pay them a visit from out of nowhere, to catastrophic results. Weird, unique, challenging: director Darren Aronofsky is back.
The acting from Lawrence, Bardem, and Michael Pfeiffer is topnotch, perhaps even Oscar-worthy. Ed Harris is pretty special in this, too. They really are on top of their game here. The set up and first third of the film is wonderful, classic almost Twilight Zone mystery territory: who are these people, what do they really want, and why is everyone — including her husband — acting so off? The film is both a pensive slow-mover and at the same time a rocket-charged rollercoaster. I couldn’t take my eyes off it.
Sadly, I don’t ever want to set my eyes on it again. The film totally goes off its rocker after an unfortunate incident occurs in the house. The imagery and the acting and set design were magnificent and brutal. I couldn’t believe what I was seeing. None-the-less, any pretence of story is launched through the window (or the wall) with all the ferocity of Yuriy Sedykh’s hammer throw at the 1986 European Championships. It makes no sense, nor does it want to. Aronofsky is a challenging but brilliant filmmaker (Black Swan, Requiem for a Dream, Pi), but this film just eats itself in pretension (you already noticed the “names” of our two protagonists, didn’t you? “Mother” and “Him”). Both totally open-ended and easy to interpret any way you want — as per our writer’s own work (ooooh meta) — and yet incredibly straight-forward, this movie doesn’t so much think it’s cleverer than it is, but rather it doesn’t give a flying f***. Frankly, it’s bonkers, but in a way that makes no sense (in contrast to Aronofsky’s previous works).
As I have said, this movie has genuine Oscar contender vibes. So why only two stars? Because story has to come first, that’s why; a movie that tosses story out of the window to go down some kind of nightmarish drug trip which makes no sense at all, cannot have a “good” rating no matter how undoubtedly brilliant aspects of the film are. The last section of the film began to genuinely test my patience with its out-and-out nonsense. Being a visionary director who has succeeded in getting first rate performances out of his team is not an excuse for self-wallowy rubbish.
a refreshing mix of familiar ingredients in a new form, the hallmark of much groundbreaking work
Jordan Peele’s feature debut as writer-director, Get Out, is the story of young African-American Chris (Daniel Kaluuya) and his Caucasian Apple Pie American girlfriend Rose Armitage (Allison Williams). They take a road trip to meet Rose’s posh WASP family for the first time. Chris is nervous, but Rose reassures him: “They woulda voted for Obama a third time if they could!”. Her family greets him with warm and open arms. But something’s amiss, and Chris just can’t put his finger on it. But as the hours and days go by, Chris begins to realise something is very wrong with the Armitages.
Get Out is a wonderful and surprising horror-mystery-thriller which keeps you guessing until near the end. It’s quite different: a refreshing mix of familiar ingredients in a new form, the hallmark of much groundbreaking work.
It’s thrilling and mysterious, and at times surreal and funny. I thought this worked well, but surrealism and comedy might be a discordant turn-off for some viewers.
Peele says it’s a “social horror”. And it’s certain that it’s on the back of this antiracist message that the film picked up four Oscar noms and one win. Indeed, the point he makes — that white liberals can have a racism every bit as dangerous if not more so than hillbillies can — is important and not often made in cinema. Sad,ly the message was undercut by the thoroughly surreal nature of proceedings; surrealism is a key part to making satire effective, but I feel things stretched too far in this picture. Frankly, this film is best viewed as a horror-mystery-thriller and not as some sort of satirical social commentary (although your Guardian-reading friends surely sold it to you as such).
The final twist seemed a step too far into absurdity to make its social satirical points. But worse, it isn’t quite consistent with what comes before. Although fair play to writer-director Jordan Peele: the ending wasn’t merely tacked on as so often is the case with the shock twist, but was clearly the direction we were headed in all along, with hindsight. Nonetheless, it doesn’t really work. And the biggest twist is revealed through something unbelievable (a scheming character just leaving something incriminating lying about).
Original, refreshing, thrilling, albeit with an ending that doesn’t quite work. Just don’t watch it as a serious take-down of racism.
Agoraphobic divorcee Anna Fox (Amy Adams) is increasingly losing touch with reality, most of her days are spent staring out of her window and spying on her neighbours. But one day she witnesses her next door neighbour, and sole friend, Jane Russell (Julianne Moore) murdered in her own house. However, when the police check it out, it turns out that her neighbour is well and alive, but is not the woman that Anna knows (Jennifer Jason Leigh).
Is Anna crazy, or is there a cover-up afoot? The Woman in the Window is a thrilling mystery crime drama. Off-kilter performances and direction with several twists.
There is a vaguely Scream-esque aspect to the final reveal, but done straight-faced. That’s not necessarily a good thing. Other aspects of the film are slightly derivative. None-the-less, the movie was well acted, logically scripted, and compellingly directed.
A really good movie, albeit one which underuses its wonderful cast.
when her daddy is played by the mercurial Brad Dourif, you know things aren’t as straightforward as she has been led to believe.
Anna has spent her whole life locked in a cabin in the woods with her daddy, the last survivors of an apocalypse where the monstrous “wildlings” devoured all of mankind. Now blossoming into teenagehood, she finds herself seeing things in a way she hadn’t considered before. And anyway, when her daddy is played by the mercurial Brad Dourif, you know things aren’t as straightforward as she has been led to believe.
Wildling is a fantasy-horror which does not fit the mould. An unusual film, it not so much twists and turns, as it is surprises us as it wends its way. This film will not appeal to everyone. Why? Its very genre changes as the film goes on; we see the ground shift beneath us and suddenly things are different again. Therefore, being a bit of a genre-bending pic, it won’t be pure horror enough to satisfy some horror fans, nor fantastical enough for many of the fantasy crowd, and it just has too much everyday drama for the first two groups. None-the-less, this is an entertaining, original film which sucks you into its world.
There are great performances from the aforesaid Dourif and his fellow players. Especially good is Collin Kelly-Sordelet who gives a sensitive and believable performance as Ray, Ellen’s younger brother, a quirky outsider himself who is able to connect with Anna. These strong performances are the iron track that this quirky tale runs assuredly on.
Wildling was Fritz Böhm’s first feature length screenplay. He did so well that he’s obviously become a trusted quantity as he will be directing the upcoming Escape Room 2 (2021).
A wonderful tale that, while not everyone’s cup of tea, should be sampled by all.
A troubled couple, Ray and Joanne (Sam Worthington, Lily Rabe), stop at a petrol station where their daughter’s arm gets Fractured in a fall. They rush to the nearest hospital, but something is terribly amiss. Pushy staff keep mentioning organ donation. And when daughter Peri (Lucy Capri) and Joanne disappear during an MRI, the hospital deny they checked in — or even exist at all. Ray must fight to save his family and prove his sanity.
A kind of horror Flightplan, we are kept guessing until the end: abducted family, or imagined family?
Unsettling, thrilling, but slightly shlocky. A good romp.
a very standard movie … [but] never felt staid or boring.
Daniel (Rodolfo Sancho) and Sara (Belén Fabra) lead an itinerant life: they buy houses, do them up, sell them off, and then move on to the next project, but in the meantime they live in their worksite. This has caused their son Eric (Lucas Blas) some emotional problems as he can never embed himself properly into the local community — until the most recent community, that is, which Eric has been traumatically ripped from. So when Eric begins to hear voices, his psychologist thinks to look no further, but the source of the voices is far more disturbing.
Don’t Listen a.k.a. Voces (‘Voices’) is, in a way, a very standard movie of its kind. Old and possibly haunted house, evil presence, kid picks up on it first, bad stuff starts to happen, the terrorised family turns to an “expert” in pseudology or whatever, final showdown, etc. However, Don’t Listen never felt staid or boring. The presence is genuinely disturbing, the signs of a person affected by the presence are also disturbing and believable — and this is sold wonderfully by first victim (played by Beatriz Arjona).
The twists and developments never feel forced. The reactions of the characters are believable. Just when you fear the film may fall apart by Hollywoodising in the final act, the movie triumphantly soars.
the characters didn’t feel like cut-outs waiting to be killed, but like real people.
Six strangers from very different backgrounds have been invited to take part in an escape room together. Escape rooms are a chance for people to come together, build social skills, be creative, and have fun — win or lose. But it soon becomes apparent that when it comes to this particular escape room, losing is not an option.
A strong concept piece featuring a motley assortment of characters, Escape Room felt like a horror movie in the model of a classic Twilight Zone episode, an exciting mystery. It had shades of movies I’ve enjoyed so much, such as Cube (1997) and Saw (2004), but very much did not feel derivative. Escape rooms themselves are all the rage now, probably because, as one of our players Danny (Nik Dodani) enthuses, they’re like real life computer games. And so this feels a very 2019 twist on those older movies.
Escape Room had plenty of well-judged humour, scares, moments of real tension interspersed with genuine mystery and a sense of the marvellous, and the characters didn’t feel like cut-outs waiting to be killed, but like real people. This definitely elevates Escape Room above most other examples of the survival game subgenre where character, motivation, and plot are so often very much secondary to the creativity of the games and the kills.
The movie began with a bang and then slowed right up in order to introduce all of the characters and the setting. But then the pace kicked back in and didn’t let up. Thrilling. I particularly enjoyed this playing with pacing and also of realism; the movie stretches and snaps back like a rubber band, never breaking nor going too far, but pushing the viewer to the limit.
Escape Room isn’t the first movie based on this concept — for example, we have the confusingly named and dated Escape Room (2017) dir. Will Wernick and, err, Escape Room (2017) dir. Peter Dukes –, but it’s the best so far. It really felt like I was watching this generation’s Saw. And like Saw, there were twists and turns — although, admittedly, none as shocking as that twist from the original Saw. Just as in Saw, each room / trial is brilliantly imaginative; you almost feel yourself “playing along” at home. And just like Saw, I felt myself thinking, “This could easily be a franchise. I think they could make more! I hope they make more! Although any sequel would be milking this concept dry” As it happens, the films ends not with the hint, but the definite confirmation, of a sequel. I felt excited, but also a little sickened by the self-assuredness of this film: gone are the days of teasing the audience and hoping for the box office receipts to make a second movie profitable, now are the days of the five film Netflix deal. None-the-less, the set-up for the sequel looks anything but milking the concept: it promises to be a thrilling and wonderful development, and it’s to be released in 2021.
A great concept, entertaining and real-feeling characters, thrilling, horrific yet fun, Escape Room was both familiar and yet refreshingly different. I loved it, and I cannot wait for the sequel.
left such a powerful impression but at times failed to make a sharp impact.
Disappearance at Clifton Hill follows a troubled young woman whose return to her hometown at Niagara Falls triggers a disturbing memory from her childhood. Did her seven year old self really witness a child’s kidnapping all those years ago, or is it all just a confused memory, or a fantasy?
Tuppence Middleton gives a convincing performance of unbalanced, charismatic, driven loner Abby. I was captivated, totally believing that she is capable of all the deviousness she gets up to. The other cast members are also good, the film-stealing turn coming from director-turned-actor David Cronenberg (yes, the same). Unfortunately, the important role of the Moulins (Paulino Nunes and Marie-Josée Croze) seemed like a side of overdone eggs with extra ham. The sound design was unsettling and was key to the eerie, almost surreal and dream-like atmosphere of the film.
The film was a little bit tricky to follow, especially at the beginning, and the ending felt like it needed a more distinct underlining. But that was befitting a picture which left such a powerful impression but at times failed to make a sharp impact. None-the-less, I was along for the ride.
A wonderful portrait of a lonely woman in a town of lonely souls, Disappearance at Clifton Hill sometimes lacked edge and at times veered off into crime series territory (in terms of acting, story, soundtrack), but it was an enjoyable and engrossing ride — albeit too slow-going for some viewers.