Category Archives: Review

2016, A, Drama, Grade, Horror, Review, review-movie, Science Fiction, science fiction horror, Thriller, Year

Review: The Untamed

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Director(s)Amat Escalante
Principal CastRuth Ramos as Alejandra
Simone Bucio as Veronica
Jesus Meza as Angel
Eden Villavicencio as Fabian
Release Date2016
Language(s)Spanish
Running Time 100 minutes

The Untamed is a thought provoking story about the depths of sexuality and the way that humans have codified and defined themselves in relations to those articulations creating a disconnect between ourselves and our inner most desires. The story plays out like a well thought out Mexican drama featuring staples of the genre: secrets, the stratification of sexuality and gender, violence, inner turmoil; but adds in a extraterrestrial tentacle sex creature for good measure, giving the movie an element of visual horror and making the themes go to the next level. If you ever thought The Shape of Water needed to be creepier and more unnerving instead of romantic, this is the movie for you.

The first scene in the movie depicts Veronica, a young women, experiencing an intense orgasm at the “hands” of a mysterious alien. The creature ends up injuring her, and two elder individuals who own the farm where the creature crash landed, ask Veronica to cease relations with it . Suffering from a new wound, she finds herself at a hospital, being treated kindly by a nurse, who she slowly befriends. Meanwhile, in another part of the city Alejandra, the film’s protagonist, deals with her unhappy domestic life. Her husband, Angel (ironic I know) uses her for sexual gratification but is rarely there for her. As the two groups’ stories interconnect, what follows is a sexual journey that’s harrowing, impossible to look away from, and deeply unsettling.

The movie deals with our relations to sex and sexuality. Every character’s orientation and reasons for wanting sex are coded differently. Watching those interactions play out with the sex monster in the background creates an interesting discussion on the place of sexuality and the way it’s deployed and internalized by rational agents. There are constantly scenes that juxtapose humans with animals to highlight the differences in how each group approaches their more base desires. Add in the ideas and themes of a well-rounded drama on top of that, and suddenly you have a piece that’s teeming with nuanced discussions. This is one of the most thought provoking movies I’ve seen on sex and sexuality in a long time.

That being said, the movie never exploits it’s premise to create fantasy sex sequences for the audience. Escalante is focused on the element of sexuality, not the visual depiction and subsequently goes to great efforts to show only glimpses of the creature and sexual actions. The camera slowly moves throughout important scenes, without revealing the shocking event at play until the very end. This is visual storytelling done right. Scenes and the way they’re shot and edited lead you to certain conclusions which are subverted in a way to make you sympathize with the characters and make future decisions more shocking.

The creature is rarely ever shown, except in tidbits and pieces, so its eventual reveal is well earned and horrifying. This is a creature feature done right, and I genuinely couldn’t avert my gaze when it’s full visage came onto screen. This process of slow reveals, building tension, and letting it all explode in one final reveal feels like the process of foreplay and sexual gratification, so the entire experience feels sublime and thematically resonant.

My biggest issue with the movie is a sub-plot involving some less involved characters that never plays out as much as I wanted it too. I like how they’re incorporated thematically, but I wish they made more sense from a story perspective, because they’re the only real aspects of the movie (sans the sex alien) that aren’t grounded. There are also a few moments where characters talk a bit too much , making some of the underlying ideas a bit more heavy-handed. I love how subtle the storytelling is, so these moments bothered me more than they would most other people.

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TLDRThe Untamed combines a well-executed and thought out drama with a creature feature involving an sex alien with tentacles. It’s well paced, prefers to show rather than tell, and presents one of most interesting discourses on sex/sexuality that I’ve seen in recent years. The movie prioritizes atmosphere and mood over visceral images and jump scares, so if you like the latter you may find yourself bored by this.
Rating9.3/10
Grade A

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2010s, 2015, A+, Drama, Grade, Horror, mystery, Review, review-movie, supernatural, Year

Review: The Witch

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Director(s)Robert Eggers
Principal CastAnya Taylor-Joy as Thomasin
Ralph Ineson as William
Kate Dickie as Katherine
Harvey Scrhimshaw as Caleb
Ellie Grainger as Mercy
Lucas Dawson as Jonas
Release Date2015
Language(s)English
Running Time 93 minutes

After I had first seen The Witch, I was convinced the movie I saw and the general audience saw were completely different, because there’s absolutely no way someone could see this masterpiece and walk away thinking it’s only at 58% (as per Rotten Tomatoes audience score). Eggers’s period piece set in Puritanical times is a well-crafted, deeply layered story, that examines the deterioration of an incredibly religious family that finds themselves dealing with crises of faith and the very real threat of witches in the forest around them.

There’s no time wasted establishing the stakes and rules of the world the lead family finds themselves in. After William, the patriarch, refuses to bend to his community’s religious views, decrying them as sacrilege, his family finds themselves exiled, forced to find a new home in the wilderness. Soon after disaster strikes, the family finds themselves assaulted by the presence of supernatural happenings, a sense of constant disarray, maddening paranoia, and severe blows to their faith in the Almighty.

Eggers really nails the look and feel of the New England world we find ourselves within. The costumes all feel and look accurate and the subsequent way they get dirtied or marred with impure elements makes the movie feel gritty and rugged. Dialogue is on point and you can tell that there was a lot of effort put into keeping things honest and precise. I have found the experience to be better after watching the movie with subtitles, just so I could see all the dialogue, but after reading it I can confirm it really is as good as I thought it was. All this attention to detail ensures that are no distracting anachronisms that would otherwise distract us from the drama at play. I found myself completely immersed in the world around our lead family and as a result was completely engrossed in every little moment and action. I never felt the effects of the slower pacing, because I was lost in the experience of watching the family struggle against their obstacles.

Every character is fleshed out and feels like an integral part of the world. Anya Taylor-Joy absolutely kills it as Thomasin and sells the conflict integral to her character’s core. There are tons of close-up shots of her face, each demonstrating her reaction to the events around her. She manages to balance teen angst with religious turmoil culminating in a well-developed spiritual and emotional journey. The exploration of her characters growth as a guilty “sinner” combined with the period’s treatment of women lends itself to an interesting feminist journey that offers some nuanced thoughts about community, agency, and the relationship between women and children. Ineson’s portrayal of a religious man, too fueled by his ego to compromise on what counts as scripture, but so genuinely caring for his family that he sheds tears for their sake, strikes a strange blow at expectations. You’d think someone so hotheaded that they’d let their family get kicked out of a community would be prone to bursts of rage and insolence, but William comes off as a man just trying to do what he personally thinks is best for the family, even if he’s incapable of slowing down long enough to figure out what that is. Dicke is great as the mother, Katherine, and emotes her weariness and fatigue to great effect. Her latter interactions with Joy and Ineson are some of the most dramatic moments in the movie and add to the discourse on the place of women. Scrhimshaw is great as Caleb, the middle child of the family, and absolutely steals the show in latter portions of the movie, channeling some transcendental acting in a scene you won’t soon forget. Grainger and Dawson have fairly convincing child performances and kept their own in the serious setting.

Speaking of setting , did I mention that the movie looks and sounds amazing? Mark Korven’s score is absolutely ethereal and makes moments pop when it comes into play. It never tries to take a scene over. It only exists to accompany the eerie feeling and tense atmosphere. You really notice it because the movie is silent for the most part, choosing to focus on long shots that drive home the emotions underlying the scene. The movie employs a series of closeup shots, which give you great mental pictures of what’s running through the characters’ heads. You can gaze into their eyes, notice the way their face darts and moves, and see what’s happening underneath.

Finally, the movie is rich with themes but works as a surface-level story as well. The narrative is tight and filled with believable characterization. The presence of the supernatural is confirmed early on, because the focus of the horror is the unwinding family dynamic. Each character’s relation to their faith is altered/exacerbated because of the family’s expulsion from the colony, so the whole unit experiences a discordant crisis of faith. The events in the story would be horrifying if you were a devout Christian living back in those times and living through them would be a real hell. That gives the movie a layer of historical nuance that grounds its fears into the world the characters live in. The reason I can still remember the shocking moments from The Witch is because they happen sparingly, are never done for pure shock value,and add to the theme or previous character threads. There’s a purpose to each scare which gives the movie tons of re-watch value. It’s a movie you can watch to watch, or watch to analyze, and if you’re someone who enjoys slower paced movies, there’s a lot to get out of this.

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TLDRThe Witch is a masterful period horror that examines the disintegration of an exiled Puritan family forced to find a new life for themselves in the abandoned woods. Historically accurate dialogue, immaculate costume design, an ethereal and well-placed score, and gorgeous symmetrical close ups await those of you who can deal with a slower movie that relies on atmosphere instead of jump scares. The movies treatment of religion, ideology, and feminist thought are interesting and anyone interesting in watching those ideas intersect need to give this a try.
Rating10/10
Grade A+

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2010s, 2018, A+, Bollywood, Comedy, Grade, Horror, Review, review-movie, supernatural, Year

Review: Stree

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Director(s)Amar Kaushik
Principal CastShraddha Kapoor as the mysterious woman
Rajkummar Rao as Vicky
Aparshakti Kurana as Bittu
Abishek Banerjee as Jaana
Pankaj Tripathi as Rudra
Release Date 2018
Language(s)Hindi
Running Time128 minutes

This highly slept on horror comedy follows Vicky, a tailor with genius abilities who becomes smitten with an unknown woman who shows up during his town’s esoteric festival/ritual meant to ward off a man-snatching spirit aptly named Stree (which means woman in Hindi). As the supernatural situation gets more tense, suspicions run high, as everyone is desperate to find a way to stop the abductions. The movie expertly plays with audience expectations, subverting them in ways that are clever and well laid out by a directorial bread crumb trail. Watching the mystery unfold is a treat and the movie will keep you on edge up till the very end.

If you’re familiar with Indian politics,the country’s social setting, or grew up with family/close friends that filled your heads with stories about those things, the movie will stand out even more in how well it effectively utilizes both horror and comedy to critique gender roles, religious manipulation, and the discrepancy between the customs of different generations. By leading into these serious discussions with a comedic touch, the horrifying “lessons” ,so to say, both highlight the repercussions of actions that aren’t taken seriously today, while never coming off as too preachy. From urinating on the wall, to prostitution, to sex talks, the movie knows how to approach the broad variety of topics it wants to talk about with great care. Tonal balance is definitely here and the movie never loses focus on what it’s trying to do.

There’s more than one moment that reminded me of interactions I had in my youth, and I laughed at how genuine and real the dialogue sounded. This is obviously helped by the great performances from the leading cast members. Rao absolutely nails it as Vicky, a dopey, awkward, romantic with aspirations of moving out and ahead in life. He’s comical enough to laugh at, but not so comical to render the issues he goes through less serious. Kapoor captures the ambivalence of the mysterious woman to a T and constantly kept me guessing as to what really drove her. Every side character is interesting from Vicky’s father to the town’s resident bookkeeper. Even if you can’t keep track of all the names, they’re all written with a real humaneness so you care about them. I can still tell you exactly what each character was about, so that’s a credit to how fleshed out everyone comes off.

If you’re someone who likes Bollywood, you’ll be glad to know this movie manages to incorporate the flair and passion you normally get in an mainstream Indian movie, but ties it down into a wholly unique plot that demonstrates serious writing ingenuity. There’s even an item song that’s incorporated both as an injection of a fun vibrant energy and as a way to highlight the themes at play. Offering a unique story is hard enough but managing to do that while playing to convention is something else. Sound design is excellent and the music can be scary and exciting at the same time. By playing up the normal romcom ideas we expect to see and adding a supernatural twist to the background those affairs take place in, the movie manages to keep the audience constantly guessing what’s going to happen. There’s more than one moment that had me nervously laughing, both because of the comedic tension of the situation at play and the fear that something horrendous would happen.

Despite my glowing praise, there are some plot elements that stand out as being less developed than others. It makes sense given the breadth of what the movie is trying to do, but those little moments feel like they could’ve really cemented some of the themes. Thankfully, a sequel is due to come out , so I’m excited to see how this creative team will answer or develop these threads.

REPORT CARD

TLDRStree is a one of a kind horror comedy that mixes traditional Bollywood elements with a one of a kind ghost story. If you’re familiar with India’s culture/social history, the movie really shines as a critique of some of the country’s most pressing issues. With the sequel coming out soon, there’s no better than than now to watch this masterpiece.
Rating9.5/10
Grade A+

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2010s, 2017, A, Art House, Grade, Horror, Review, review-movie, Year

Review: Flesh of the Void

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Director(s)James Quinn
Principal CastMan Without a Face as Priest
Kmsura as The Amputee
Dead Flesh as Rapist
Elektriking as Man in Gas Mask
Release Date2017
Language(s)English
Running Time 77 minutes

What is death? Is it the end of the spirit or does it just mark the end of the physical body? People have always taken comfort in the idea that death is either a void bereft of any sensation or that there’s some kind of afterlife. This highly experimental movie throws those answers out and instead looks at death as the worst, most horrifying, event. Instead of a void, instead of heaven or hell, this a journey into death in its most intimate and horrifying, the end of physical existence and the sensation of the flesh.

There’s not a real plot. There are no real characters. If I’ve lost you already, then you know this movie isn’t for you. This is an experience through the most miserable depths of the human experience and isn’t something that should be touched by the faint of heart. Forget NSFW, there are NSFL scenes in here that haven’t left my head since I saw I first saw this movie. The black and white movie is an assault on the senses and doesn’t care about answering questions or making you feel secure. It only wants to hurt you. It wants to make you despair and break under its torrent of visceral depravity.

The words that come onto the screen are scratched and sharp, like the text in the movie poster above. It cuts into the screen and feels violent, like the movie is being effaced. Quinn uses expired Super 8, modern super 8 , and 16 mm film to capture a variety of different visual effects. Most of the movie is gritty and indecipherable. The horrors come at you in droves. Sometimes they’re blurry, barely at the periphery, showing you just enough to stir your mind into finishing the idea and image at play. Other times, horrifying actions are shown on screen in disturbing long takes that seemingly never end. When the old super 8 film comes into play, the movie takes on a whole new surreal feeling, bombarding the senses and really getting underneath the skin. Most dialogue happens in the form of interspersed poetry, barely heard, and distinctly sinister in tone. Indecipherable noises, and short growls crowd the soundscape and haunting music makes you feel like you’ll never feel safe again.

The movie veers on the line of overly pretentious and deeply meaningful and I could definitely see arguments for the former. I was deeply affected by the piece, and think it’s a horrifying trip for anyone that wants to explore the depravity of humanity, but can see how it can feel like meaningless torture porn to some people. If I didn’t see the advertising/marketing for the movie that told me it was supposed to be an experience of death, I might have been frustrated, but I knew what I was getting into. This is not a movie for everyone, but I think people with a taste for it will find themselves haunted by this piece for sleepless nights to come.

That being said, I think the path to the journey could be heavily improved. I get wanting to be ambiguous and unnerving, but the lack of subtitles makes it almost impossible to make out certain bits of dialogue. It’s a strange complaint and I wouldn’t fault for you think it’s nitpicking, but the movie is hard enough to find and is all about the meaning created through the experience, so being able to know the words is important. I found myself more distracted by trying to parse what was happening, but ignoring the words and just being scared by their recitation didn’t work for me that well.

Report Card

TLDRFlesh of the Void is a movie for people that want to know what death as the ultimate horror would feel like. This piece is highly experimental and explores the most miserable depths of human existence, constantly bombarding the audience with unnerving noises and dialogue combined with surreal and disturbing imagery.
Rating9.0/10
Grade A

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2010s, 2018, A, Adventure, Drama, Grade, Horror, mystery, Review, review-movie, Science Fiction, science fiction horror, Thriller, Year

Review: High Life

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Director(s)Claire Denis
Principal CastRobert Pattinson as Monte
Juliette Binoche as Dibs
Mia Goth as Boyse
Jessie Ross as Willow
Release Date2018
Language(s)English
Running Time 110 minutes

This slow, non-linearly told, atmospheric ride into space is a one of a kind look into the human condition. Denis is not focused on spectacle or sci-fi hi jinks. Instead, she uses space as an tool to alienate our protagonists, trying to isolate and draw apart the elements that we commonly associate with being a human. The movie is really hard to talk about without some spoilers, so be warned. I won’t talk about anything that isn’t revealed within the first few scenes in the movie, so don’t worry. Nothing important, just enough to help explain the stuff I liked and didn’t. The movie also depicts some fairly dark stuff. If rape/assault bother you, watch with someone who can tell you when those scenes stop.

The story opens up on Monte, a man who’s apparently in charge of taking care of a baby, Willow, on a seemingly empty spacecraft. From there it cuts to Monte in the past, as part of a crew sent to explore black holes. The catch? Each member of the crew is a criminal who’s participating in the mission in lieu of sentencing. Denis isn’t as concerned with keeping up the mystery as some major questions are answered fairly early. The focus of the movie instead is on the human body and the way it responds to different stimuli.

As part of their sentence, the crew members are not allowed to masturbate or have sex. Instead, they must relieve themselves in a sex box, a mysterious object filled with sexual paraphernalia that bring subjects to orgasm and relieves them of their relevant fluids. The scenes involving it are disturbing in how they make sex mechanic and programmable. By stripping such an intimate action of its human element, the story asks us if humanity really has any meaning outside of the composition and arrangement of our organs. Are we just our genitalia, our sweat glands, our eyes, our mouths, etc working together like a biologically pre-programmed machine, unable to do anything worthwhile in this universe or are we creatures that can impact the universe in a way that creates meaning? Are we held back by traditional rules of thinking about ourselves and others or are they the things that keep us grounded and capable of doing anything at all? I won’t spoil the film’s answer (mainly because I think it varies based on how you take the story), but I think the journey it takes to get there is interesting.

I think this is a movie that’ll only continue to grow on me and I’m sure I’m missing a lot of ideas. The movie almost plays like a microcosm of Earth, with a population of radically different individuals trying to work with each other under a draconian set of rules (plug in whatever social system you want; ex: patriarchy, capitalism, prison industrial system) and their subsequent responses to alienation within that system. The way the movie is shot, edited, and presented allow you to to tinker around with different ideas and I think different people can walk away with different interpretations of what it all boils down to.

The movie is gorgeous in its visuals and presentations. There are scenes that genuinely had me feeling upset and wouldn’t leave my head for a while. There’s not too much visceral violence outside of a few assault sequences, but they’re not the focus of the horror. The real scares come the eerie set up and poignant imagery. Blood splattered walls, objects floating outside of the spacecraft, and the beautiful image of a black hole (that shockingly looks like the recently discovered image by the Event Horizon Telescope team) should keep visual audience members enthralled. Despite taking place on a spacecraft, the movie is teeming with colors. Clever use of flashbacks, ship mechanisms, and lighting choices keep each shot feeling distinct and picturesque. There are scenes in the latter half of the movie that are absolutely stunning to watch and should be seen by any fan of the science-fiction genre. In fact, the movie’s presentation of gravity, orbit, black holes, and other phenomena are exquisite and are beautiful to watch play out. It’s a physics marvel.

The lead performances are also great. Pattinson is impressive as Monte. He’s calm and collected and the way he grows along with Willow is remarkable to see. His nickname on the ship is “monk” and he really exudes that aura, staying strong in will and action. The way he’s contrasted with his crew mates makes him all the more interesting and makes his backstory that much more relevant, both from a character arc and thematic view. Binoche does a great job as the lead scientist, Dibs. She’s in charge of collecting the fluids from the crew members and is responsible for ensuring that sexual urges are gratified via the machine. It’s disturbing to watch her ideas come into play, and her fervent obsession in getting what she wants keeps your eyes glued to her whenever she shows up on screen.

Most of my issues come from the way the story is under utilized. There’s a major plot thread that ends up being ignored (in a literal sense) and never explained. It makes the core of the story’s setup confusing and I wish that it was addressed again at some point. The movie also dumps a lot of exposition, in spite of its excellent use of visual storytelling. These moments fell really out of place and make the movie flow strangely. When the editing is otherwise so crisp, moments like these end up standing out even more. I would rather have just been shown more beautiful images hinting at what happened like what the rest of the movie ended up doing. A lot of these decisions could be argued to be done for the sake of distilling themes at play, but they come off feeling like missed opportunities instead of lean cuts.

REPORT CARD

TLDRHigh Life is a beautiful look into the human condition and our respective place in the universe. It’s slow and methodical, told in non-linear order, and prioritizes eerie atmospheric existential horror over visceral jump scares. If that sounds like something you’d like I highly recommend checking this out. It’s definitely something I plan on checking out again.
Rating9.2/10
GradeA

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2020, 2020s, Action, Adventure, Crime, D, Grade, Review, review-movie, Superhero, Year

Review: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn)

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Director(s)Cathy Yan
Principal CastMargot Robbie as Harley Quinn
Ewan McGregor as Roman Sionis/Black Mask
Jurnee Smollett-Bell as Dinah/Black Canary
Mary Elizabeth Winstead as Helena/Huntress
Rosie Perez as Renee
Ella Jay Basco as Cassandra
Release Date2020
Language(s)English
Running Time109 minutes

They should’ve just called this movie Harley Quinn (and the slight inclusion of the Birds of Prey) because that’s what this movie felt like. Despite great production value, neat action sequences, and some fairly good performances from Robbie and McGregor, Birds of Prey feels like a sloppy amalgamation of story ideas and plots hamfisted into a movie that feels empty at its core. If you enjoy Robbie’s performance of Harley Quinn in the current DCEU, this movie should hit some of the right notes, but for anyone hoping for more you’re sure to be left feeling a bit disappointed.

The story picks up some time after Suicide Squad, with the Joker and Harley breaking up. The story is narrated by Harley (to interesting effect) and chronicles her tale of trying to survive in a world without her beau or the protection his sphere of influence granted her. The plot is fairly simple and there are no big twists or turns. There are some fun action sequences here and there and Robbie narrates the movie in an Deadpool – esque way, breaking the fourth wall whenever she feels the need. It gives the movie some much needed character and helps cover up a lot of the more obvious narrative flaws.

The movie is really pretty and the color palettes used are vibrant and pop off the screen. Harley has a scene early on that’s bursting with color. I had a blast watching it and feel like it would be a ton of fun to watch in IMAX or 4k. Action sequences are over the top and make full use of the comic nature of the universe. For example in one scene , Harley bounces a bat off a wall like a boomerang to hit an unsuspecting foe. Moments like these showcase the potential at play and I wish the movie had more of this.

Each of the other “Birds of Prey” are incorporated into the story with varying degrees of success. Because the movie takes place from Harley’s point of view, it’s hard to understand how and why certain sequences are even known to her but that’s besides the point. As Harley introduces each member of the titular squad, you can tell there’s something off. Their inclusions in the story feel weak at best and awkward at worst, as they magically just keep finding themselves all closer to the heart of Black Mask’s scheme. Huntress gets shafted the most and her inclusion into the larger narrative feels like an afterthought. Furthermore, no other character has a genuine change of arc besides Harley, so it makes caring about their eventual team up hard to do.

McGregor is great as the main villain and brings his full energy to the role. Black Mask is narcissistic and fueled with over confidence. Watching him react to fickle circumstances demonstrates how fractured and on the edge he is. Unfortunately, like most of the Birds of Prey, McGregor is rarely given a chance to shine, so his cruelty and manic personality only feel comical and not threatening. I wish we really got to see him fully embrace his dark side and be more present. If you’re going to have this level of talent might as well make use of it.

The main issue with the movie is it doesn’t know what it wants to be or do. The movie wants to be feminist and tries to channel in some faux female energy by having “bad ass” female characters, but the characters never work because their powers and personalities never feel justified or developed enough to persuade you to care about them. The movie shows us sexist microaggressions and a comically hyper masculine bad guy almost as if to show us that it’s woke and against the masculine world order, but it doesn’t ever justify that take or develop it.

The movie is rated R, but I rarely felt like the rating was justified. There’s not a lot of violence , and most of it feels overly comical when it does happen. There’s a serious tonal imbalance between the tension and comedy. The movie wants to make you nervous or scared that something will happen, but constantly makes wisecracks or goes to over the top too ever let that feeling set in. The way that the more serious moments are edited also makes them funny, and I laughed more than once at the way certain bits of dialogue played out. I wish the movie either pulled a full Deadpool and ramped up the comedic violence and played more things for jokes, or toned back the comedy and tried to inject a real sense of high stakes pressure.

REPORT CARD

TLDRBirds of Prey feels like a re skin of your typical superhero team-up movie, this time featuring Harley Quinn with some small moments from the other members of the titular gang. The production value is nice and the action scenes are enough fun to watch, but the story, tone, and theme all feel underdeveloped and all over the place. I’d only reccomend watching if you’re a hardcore DC fan or love Margot Robbie’s interpretation of Harley Quinn. Hopefully, she gets a movie that really demonstrates what she can do with the character. One can dream.
Rating6.2/10
Grade D

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2010s, 2018, A, Drama, Grade, Horror, mystery, psychological, Review, review-movie, Thriller, Year

Review: Unsane

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Director(s)Steven Soderbergh
Principal CastClaire Foy as Sawyer Valentini
Joshua Leonard as David
Jay Pharoah as Nate
Amy Irving as Angelina Valentini
Juno Temple as Violet
Release Date 2018
Language(s)English
Running Time98 minutes

This is a movie that deserves to be talked about in the same vein as Get Out when it comes to well done social-commentary horror movies. While Peele’s debut dealt with race, Soderbergh’s story tackles the mental health industry, the #MeToo movement, incel culture, and the effects of a society that amps up paranoia while blaming you for feeling scared. Watching these themes intersect is what makes the movie so distinct and memorable.

The story follows Sawyer Valenti, a women trying to get her life back on track after a harrowing series of run-ins with a serial stalker. After she’s committed to a mental facility, she finds herself trying to find a way out and to deal with the possibility that her stalker is in the institution with her. Soderbergh does a great job at portraying the horrors of being a women in the world. Sawyer deals with snide remarks at the workplace, lack of respect during cordial interactions, constant gaslighting, and a severe lack of respect. She’s simultaneously taught to handle situations with a certain fear and sense of uneasiness and is disrespected for those qualities. It’s frustrating to watch her constantly undermined and thwarted by a system that seems to make it impossible for her to ever win.

What makes the story so much more interesting is the presence of well-rounded and interesting side characters. Angelina is Sawyer’s fierce mother and is on her daughter’s side, trying to help her out. Nate is a resourceful and interesting kind-of friend on the side. Watching him interact with and teach Sawyer the rules of the land is fun, and their burgeoning friendship is pulled off convincingly. The other patients at the facility are handled with respect. This isn’t a mental patients scary movie. In fact, the movie actively argues the opposite. It’s clear that Soderbergh thinks that the mental health industry is almost irredeemable and actively serves to trap everyday people in a system to suck them dry of their money. The patients reflect this. They’re all “off” but they’re not crazy. They’re social, have codes of conduct, and want to interact.

Every major performance is also great. Foy understands the motivations that drive her character and makes her sometimes questionable actions feel believable. The fear, the desperation, the indignation, the sheer lack of energy at having to deal with any more nonsense. You can feel her emotions through the way she moves her body across the screen. Pharoah is amazing in his side role and adds a lot of levity to the otherwise tense movie. He plays well off Foy and the scenes they have talking to each other are among my favorite as a result.

So if you haven’t heard already, this movie was shot exclusively on an iPhone 7 Plus. Soderbergh has talked a lot about how he’s astounded with the results of the movie. I went in to the movie because I heard it was only shot on a cell phone and I was curious at how it’d turn out. I think Soderbergh’s experiment proved mixed results. There are a lot of great shots and sequences, but they never feel as powerful as they should because the iPhone can’t capture the light at all. There’s very little contrast in dark scenes, so you almost start praying for more stuff to occur in the light, just so you know for sure what’s happening. The movie looks a lot more grimy and worn out. I personally liked it, because I thought it fight with the movie and psyche of the characters but if you want something that looks clean, look elsewhere. I didn’t think the movie looked bad per say. I just think that this movie deserved better because of how good the story and characters are.

Plot wise, I don’t share a lot of the same criticisms I’ve seen a lot of other reviews bring up. I think a lot of the sequences in the movie are justified or are done for very distinctive purposes. That being said, there’s only two plot elements that comes up in the third act that feel a bit too absurd. I thought the movie was going to be more nuanced/ambiguous with one of these ideas and it isn’t which made me pretty sad. It’s not that the movie is bad , but it feels like what could’ve been a genuine horror masterpiece is only pretty good instead. However, I can honestly say watching this inspired me. If something this great can be made with an iPhone camera, then there’s only room for improvement. Any of us can make a movie, and I applaud a bigger director for doing this. (Yes I know Tangerine exists. I watched it later and I highly recommend it for people who want to see the true places the medium can go).

Report Card

TLDRUnsane is a horror movie about the everyday scenarios women have to go through and does a great job at fairly demonstrating that struggle. The film’s nuanced takes on incel culture, #MeToo tenets, and the mental health industry make it one of the most interesting movies of recent times. Thought it stumbles in some places, I can’t help but appreciate the effort.

The movie being shot on an iPhone 7 may upset some people. The movie is grainy and lighting isn’t that great, but you won’t notice as much when you’re lost in the story.
Rating9.1/10
Grade A

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2010s, 2017, A, Drama, Grade, Horror, Review, review-movie, supernatural, Year

Review: It

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Director(s)Andy Muschietti
Principal CastBill Skarsgard as It/Pennywise
Jaeden Lieberher as Bill
Sophia Lillis as Beverly
Jeremy Ray Taylor as Ben
Finn Wolfhard as Richie
Jack Dylan Grazer as Eddie
Wyatt Oleff as Stanley
Chosen Jacobs as Mike
Nicholas Hamilton as Henry
Release Date2017
Language(s)English
Running Time 135 minutes

A GOOD horror movie I could go see with my friends. That’s the sentiment I’d use to best describe my relation to It. After a few years without a solid mainstream hit like The Conjuring and Insidious , I was worried I’d never get to see a horror movie with my friends again. If you’ve read my reviews you know I have a taste for weird art-house movies. It’s a sentiment my friends usually don’t share, so most of my horror experiences are solo adventures. Whenever a horror movie is good and lends itself to being accepted by a wider audience, I take notice. It is exactly that kind of movie. This adaptation of King’s highly regarded novel blends genuine horror with an interesting one of a kind story to great effect. The movie simultaneously vivid for enough for fans who like more visual scares, but has enough subtext to keep the annoying self-proclaimed cinephile friend you have (like me) occupied.

The story follows the Losers club, a group of 7 kids living in Derry,Maine , who are forced to confront the shape-shifting entity, It. It, normally taking the form of Pennywise the clown, constantly morphs into the children’s worst fears, so as they find a way to deal with the supernatural presence they’re forced to confront their fears and doubts in the open. It’s a beautiful melding of coming-of-age and supernatural horror that takes relatable fears a lot of us have had and amplifies them to the nth degree. Having It’s manifestations be related to the characters at such an intimate level also keeps the subsequent scares memorable and more terrifying. Knowing there’s a malevolent entity that’s enjoying torturing you and your friends, waiting to eat you at the end of all of it would make any adult cry, let alone a middle school kid who’s just at the beginning of their introspective journey.

This is made all the better by how well (almost) each of the Losers is characterized and developed. Bill, the de-facto leader of the group is traumatized after losing his brother to It and feels a deep sense of personal guilty and responsibility to rectify the situation. Beverly, the ostracized and slut-shamed girl at school, finds a new home in the group as they give her a place to feel safe. Ben’s the nerd of the group and always has intel on what’s going on. Richie is the smart ass, constantly making light of the situation and providing the comic relief. Eddie, is a germaphobe with a serious case of smothering mother. Stanley is the scaredy cat of group and Mike is the home-schooled kid who also happens to be one of the only black people in Derry. Every performance is top notch and the characters genuinely feel like kids who are out and about trying to figure out what’s going on. They all feel like real kids with real problems going through a horrifying situation that they can’t control. Watching them grow and develop in the adversity is both exciting because of the nature of the dangers that await the group, and touching because of the way the situation reminded me of my childhood.

For the most part each character is given an appropriate time to develop. Seeing them as individuals and in a larger group for extended periods of time makes noticing the subtleties of their friendship more rewarding. The group doesn’t start off singing Hakuna Matata because it’s made up of multiple clusters of friends that intersect with common points of contact. Everyone has a different relationship with everyone else so they have to learn how to navigate their broader social environment. All that connects the group is their shared condition as outcasts. The combination of all the characteristics under one moniker, combined with the easily relatable themes, makes getting invested in the story easy. Hell, at some point in my life, I would have found myself in the Losers club and I’m sure I’m not the only one.

The most surprising aspect of the movie to me is just how scary Pennywise comes off as. It’s not just the special effects or the fact that the scares are intimately connected to the characters.It’s (no pun intended) the man under the makeup – Bill Skarsgaard. He absolutely sells Pennywise’s delight in torturing the children with how enthusiastically he throws himself in rushing at them or making fun of them with a litany of sarcastic jabs. He’s childlike in the way he laughs at his own jokes or the way he relishes in his “pranks”. It comes off as a perversion of innocence, which is exactly the point. Definitely one of the best horror villains and performances of the past decade.

Unfortunately, by making the movie more mainstream, especially in the use of cheap jump scare noises, the horror feel a lot less memorable or mesmerizing. It is scary and watching the creature torment the children as their worst possible fears is scary enough. I know jump scares are popular, and I’m not saying the movie needed to get rid of all of them, but I think it should’ve taken a more controlled approach to maximize the effect they have. Some of the It vs Loser sequences are genuinely unique and fun to watch. It’s a shame that they don’t get to shine on their own and get drowned out by a loud noise telling you to be scared. The third act also diminishes the tension of scare sequences by injecting random bits of humor that really ruined the tension that had been building up to then.

Certain characters get little to no love development wise and it makes them stick out like sore thumbs when compared to the excellent moments everyone else gets. I’m okay with the bully characters having less time to shine because the main cast is so large, but Mike got done dirty. I feel like he barely has time to grow and gel with the group and I think the interactions between him and the others could have been more interesting. The movie hints that there’s a racial dynamic at play, but it’s only ever mentioned by the bully and doesn’t feel like it’s as incorporated into the story. It’s a lot of missed potential that makes his inclusion feel odd.

REPORT CARD

TLDRIt manages to be unique while being mainstream enough to watch with friends. The clever coming-of-age story is relatable to everyone who ever grew up afraid of something, and the characters and their respective tribulations will get you invested in the story, no matter how wonky some events play out. Some themes and characters aren’t properly developed which hold the movie back from being a true masterpiece, but it’s a hell of a fun time regardless.
Rating9.3/10
GradeA

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2010, 2010s, A, Drama, Fantasy, Grade, Horror, mystery, Review, review-movie, romance, supernatural, Thriller, vampire, Year

Review: Let Me In

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Director(s)Matt Reeves
Principal CastChloe Grace Moretz as Abby
Kodi Smit-McPhee as Owen
Richard Jenkins as Thomas
Release Date2010
Language(s)English
Running Time 116 minutes

This is a hard movie for me to rate and I’ve struggled with coming up with a number for a long time. I initially saw the movie in 2011 and thought it was amazing. I was completely enamored and couldn’t stop thinking about it. It got me reading the Wikipedia page to find more information ,and I saw that it was a remake of a Swedish movie called Let the Right One In, which itself is based on a novel of the same name. I thought it’d be fun to see the original movie and read the book to see how the Reeves version compared. The process left me in a strange position. While the Reeves version is stellar in composition, it comes off feeling like a replica of the original movie with an English dub. There are slight changes in setting, the starting point the movie leaps off from, and the way the theme of growing up is handled, but it’s not enough to make the movie feel like something wholly unique (like Evil Dead vs The Evil Dead) .

For those of you unacquainted with the book or 2008 movie, the story follows an ostracized young child, Owen, who’s struggling to find his place in life. He’s bullied at school and can’t really relate the adults around him. Eventually a young “girl”, Abby, moves in next door. Unbeknownst to Owen, Abby’s actually a vampire. As the two interact more often, a budding friendship is born, and their lives are radically changed. Given that information, the opening shot of the movie feels completely out of place with audience expectations. It starts in on a disfigured individual who jumps to his death from a hospital building, leaving behind a note that says “I’m sorry Abby.” This initial scene sets the tone for the rest of the movie and tinges the experience with a more sinister sense of mystery. Who’s the person , how did they end up there, and why were they apologizing? It gives the movie a lot of action before the slower paced story kicks in and is one of the unique things Reeves did to spice up his adaptation.

Traditionally, coming-of-age stories are about trying to find your path and footing in the world. The unpredictable chaos of everything combined with hyper-active hormones leads to a sense of confusion and wonder. Trying to determine how characters will progress becomes part of the fun. This movie subverts that expectation and is another original Reeves move. Adults are reduced to mere outlines of human interaction. Owen is rarely shown interacting with them and when he does those moments are often reduced to trite conversations with little weight. Hell, in a move I really like, Reeves never shows Owen’s mom’s face. The absence of any positive adult influence makes the progression of Owens story easy to predict, so if you like trying to guess or interpret those types of the things, you may feel like the movie tells you too much. However, if you accept the conclusion, the movie takes on this cool surreal feeling. It’s almost poetic watching the foregone conclusion slowly play out.

Smit-McPhee and Moretz knock it out of the park and give the movie a real heart and spirit. Their chemistry as friends is genuinely touching to watch and reminded me of a lot of moments in my childhood. You can see them warm up to each other, and because the movie takes its time, the subsequent places they go feel emotionally satisfying. Smit-McPhee really hits the nail on the head of bullied kid who desperately wants to feel like he has agency again. He manages to be creepy but sympathetic. You want him to find a path to happiness, even if he gives you the heebie jeebies with his weird masculine inducing rituals. Moretz absolutely nails child vampire. She’s innocent, but she’s also horrifying. She asks basic questions like “What’s a girlfriend?” but then has to consume other people’s blood to survive. None of these shifts feel out of character and it keeps Abby feeling complex.

Just because this is a romance with cute moments of friendship doesn’t mean it’s sunshine and daisies all the time. People are brutally murdered and their blood canvasses the white snow. The contrast is stunning and makes it clear that violence pervades our everyday existence. It can come from anywhere and doesn’t line up with what we think. The visual effects team does a great job at showing the horrors of vampire life by demonstrating the consequences of breaking vampire rules and by making the kill sequences feel deliberately violent. You can feel the pain respective character’s go through. Out of the two movies, I think this one is more visceral in its scares, so if that’s something you’re looking for you should check this out.

REPORT CARD

TLDREven if Let Me In feels a little too derivative of its 2008 Swedish counterpart, its worth giving a watch if you’re looking for a coming-of-age romance with a horror twist. It’s equal parts heartwarming and horrifying and has some of the best child performances I’ve ever seen. I may rag on the movie for feeling like a clone of the original, but that’s not a bad thing. It means it has a great story, memorable characters, poignant and relevant themes, and great horror sequences. Reeves definitely refines and polishes some of these elements and I appreciate him making the movie more accessible to a widespread audience. I just wish that the movie felt more distinct .
Rating9.4/10
GradeA

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2010s, 2018, A, Grade, Horror, mystery, psychological, Review, review-movie, Thriller, Year

Review: CAM

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Director(s)Daniel Goldhaber
Principal CastMadeline Brewer as Alice Ackerman/Lola_Lola
Patch Darragh as Arnold/TinkerBoy
Michael Dempsey as Barney
Release Date 2018
Language(s)English
Running Time95 minutes

I”ll be the first to admit that I thought this movie would be a crapshoot going in. I didn’t see any reviews or anything. I just thought the description sounded interesting enough to warrant a watch . A cam girl psychological horror? Even if it wasn’t that great at least it’d be something new. Man oh man, did I underestimate what I was getting into. From the very first scene, Goldhaber lets you know that this isn’t some trendy social media cash grab movie like Friend Request. Instead it’s a deep look into the horrors of internet privacy and security and the ways we’ve become almost defined by our digital personas.

The movie follows Alice Ackerman, more popularly known by her online persona, Lola_Lola. She’s a camstar who’s been rising through the ranks and is finally on the cusp of making the top 50 most popular content creators. However, just as things start to look promising, Alice notices that her account has been hacked by a girl who looks exactly like her. This clone “Lola” acts,looks, and feels the part and Alice is forced to navigate a harrowing situation with little to no support given the nature of the occupation. The set up is even scarier when you take into account the rise of things like deep fake technology. The movie isn’t based on real events, but I wouldn’t be so sure of that in a decade or two.

This is a movie that treats its subject matter with serious respect. The camgirls that are portrayed are real human beings. They’re smart and treat their source of income like any other working adult would do. Screenplay author Isa Mazzei needs to be commended for creating a nuanced, balanced look into the lives of a group that’s constantly judged but never given a fair shake at presenting their own stories. Likewise, every single person who knows of Alice and her occupation treats her differently. Yes, there’s slut shaming and vicious judgement, but there’s also acceptance and solidarity. It keeps the movie from feeling preachy, and helps focus attention on the plot, so the themes come off natural.

The discussion at hand is broad and touches on a lot of different topics that come together in interesting and horrifying ways. After Alice has her channel taken, she attempts to use different legal channels but never receives a proper response. It’s reflective of the way the law and corporations receive social buy in under the idea that regulative channels will properly do their job, but if people are willing to keep in line with sub-par service, then what’s the point of fixing anything? Interests are transient and there’s a quick fix for any kind of entertainment if you’re willing to look for it and have the capital to ensure that it happens the way you want. You don’t need to fix the system. You just need money to navigate it.

This idea is only expanded by the streamer/anonymous chatroom setting the story takes place in. Yes anonymity and ease of streaming allows content creators to reach out to their expanding audiences more often, but it comes at the cost of putting oneself out there. People give money to those do what they want, and given the ability of anyone to be a content creator, newer entrants have to constantly one up themselves and their peers. You never know who’s giving you the money or why they’re doing it. The audience never has to share and the information asymmetry can lead to some pretty horrendous situations. In some cases, it means receiving money to participate in awful activities. When a creator gives in, the result generates more depraved behavior because suddenly everything has a relative price point. It’s a vicious feed back loop that culminates in the virtual erasure of people. Cam girls aren’t people . They’re consumable objects . It’s just a question of whether or not the audience wants to hurt and/or sexualize them.

REPORT CARD

TLDRCAM is a dark look into the tumultuous, and highly dangerous lives of cam girls. In a world where relevance equals money and money equals livelihood, people are forced constantly escalate their behavior to make ends meet. In the cam girl industry, that escalation comes with serious, sometimes horrifying costs. If you’re looking for a horror movie that effectively uses social media at the heart of its scares, look no further than CAM. It’s one of the best.
Rating9.1/10
Grade A

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