A Monster Calls seems to have one goal in mind and one goal alone. That is, to deprive audiences of the contents of their tear ducts and make them a sobbing mess. Some might call it manipulative, but that's not really anything new for director J.A. Bayona, who has previously swept audiences up with the emotionally draining The Orphanage and The Impossible. With A Monster Calls, though, the emotion is genuine, and the director, working off a screenplay from Patrick Ness adapting his own novel, twines magnificent fantasy with authentic drama to make a heart-wrenching, cinematic experience. It helps that the cast, led by Lewis MacDougall and the voice of Liam Neeson, is so spot on and committed to the subject at hand. A Monster Calls is a wonderful film that shouldn't be passed up by any audience member of any age.
The Mo Brothers from Indonesia always deliver. Whether it's a disturbing slasher movie like Macabre or an intense thriller such as Killers, the directing team comprised of Kimo Stamboel and Timo Tjahjanto have become a force for genre filmmaking. Their latest film, Headshot, is no exception. A balls-to-the-wall actioner with plenty of insane choreography and even crazier effects on the execution, the film proves once again that, when it comes to daring works of cinema that keeps your nerves firmly in grip and your thirst for excitement quenched, this is a filmmaking team worthy of your attention. It helps that the presence of star Iko Uwais reminds you of The Raid, as well, as the action found within is every bit as intense and
Split is filmmaker M. Night Shyamalan's most terrifying film to date. Granted this opinion is coming from someone who finds The Sixth Sense, while a phenomenal film with a wonderfully choreographed twist, not all that scary, and, though Signs and The Village deliver the thrills, there's nothing on par with Split in terms of how relentless in intensity and so very chilling it is. Shyamalan used to be considered a master of these types of genre films. Although his work has been less than stellar in recent years, the director's filmmaking and storytelling prowess seem to be back in line. Split is his return, and, with a wonderfully creepy turn by James McAvoy in the lead role, Shyamalan's latest ends up being his absolute best horror film to date. And, holy shit, what an ending, but we'll get to that momentarily.
The question we should be asking isn't where has director Paul Verhoeven been for the past decade. The question is where has this Verhoeven been all our lives? The director whose career skyrocketed with Total Recall and Basic Instinct hasn't released a film since 2006's Black Book, the Dutch filmmaker's return to his homeland. We hoped whatever Verhoeven had in store for us next would be a return to the trashy good form with which the filmmaker had become known, and Elle, his latest, doesn't disappoint. It isn't what was expected, either, instead he gives us an eye-opening and wholly unique look at one woman's attempt to connect with any man in her life: her son, her ex-husband, her mass-murderer father, or even her rapist.
Just when you thought it was safe to leave your doors unlocked and your windows unbarred, a film like Safe Neighborhood comes along and completely makes you rethink the home invasion sub-genre. It's been the format for a certain type of film for awhile now, and the formula involved has been generally left unaltered. Fortunately there are filmmakers like Chris Peckover who aren't satisfied with resting on the laurels of the typical, home invasion movie, and Safe Neighborhood quickly reveals itself to be something just enough on the fringe to make it noteworthy. It's also going to be an extremely challenging movie to speak about without giving away too many of the film's shocking reveals. But let's give it a shot anyway, tread carefully.
No one expected this from Ana Lily-Amirpour. The filmmaker who first broke onto the scene with the Iranian vampire tale, A Girl Walks Home Alone at Night, had the world from which to choose for her sophomore effort. A story about finding love in a cannibalistic, post-apocalyptic wasteland isn't the stretch, but what Amirpour chooses to do with The Bad Batch, her newest film, is quite shocking. She turns the mirror around on modern society showing a dystopian future that is closer to possible truth than many of us would like to admit. Unfortunately The Bad Batch is layered with cryptic subtext and long, drawn out scenes with little-to-no progression; sadly Amirpour's second outing seems like something of a big step back.
We can stop making science fiction films now. Arrival has said it all. Yes, there's a very healthy dose of hyperbole with that statement, but that doesn't make the overwhelming feeling the film conveys, directed by Denis Villeneuve and written by Eric Heisserer, any less resonant. Arrival is smart, simple sci-fi that never panders and never overstays its welcome, and, with Amy Adams on board to be our guide through the waterworks that are sure to come, it's one of the best science fiction films to come around in years and one worthy of the processing required. Emotional and daring in the most exquisite of ways, Arrival becomes that eye-opening tale of alien encounters and communicative sparring that leaves the viewer rattling the ramifications that follow around in their head for days, a key staple for any, good science fiction.
Park Chan-wook once again plays outside the proverbial box with The Handmaiden, another stunning epic from the South Korean filmmaker whose name has become synonymous with breathtaking cinema. Chan-wook has become one of those few storytellers whose every work is an event, a film you simply have to see for yourself to take in all the wonder and beauty that comes with it. His latest is just as subversive, blending an efficient, con artist story with an abundance of strange sex, horror atmosphere, ultra-feminism, and, yes, even love. The Handmaiden quickly proves itself as yet another glorious masterpiece of visual style and effective narrative that eats away at your brain long after the final curtain has been raised.
It's never a good time to lose anyone close to you and even worse when the whole world is watching. Every move is watched and scrutinized regardless of context and it's up to you to put your personal feelings aside and keep moving forward. The astounding new film Jackie focuses on one of the biggest icons of class and style in America's history, Jackie Kennedy, and as played by a never-better Natalie Portman we witness the private grief that is human but rarely seen in public. Jackie is the English-language debut of Chilean filmmaker Pablo Larraín (of No, The Club and this year's Neruda) and as the story begins we are dropped right in the middle of the chaotic aftermath following JFK's assassination on November 22, 1963.
An extravagant singing competition brings many different creatures of all kinds together in the animated musical Sing, one of the biggest question marks of this year's Toronto Film Festival. However, it turned out to be an enormous surprise once the closing credits started rolling. It's a huge crowd-pleaser and the best family film since Disney's Zootopia, blending a traditional underdog story with gorgeous animation and of course tons of fun. Sing is also the latest endeavor from Illumination Entertainment, the animation studio responsible for Minions, Despicable Me and this year's The Secret Life of Pets. The company is certainly growing with each new project and Sing could be the breakthrough that makes them a household name.
Any verdict on the quality of the actual film aside, Blair Witch is the surprise of the year. It may not be as groundbreaking as when The Blair Witch Project stunned audiences at the 1999 Sundance Film Festival or even when the film stampeded through movie theaters later that summer. The controversy and marketing behind it had something to do with that, but the surprises involved with this latest film, simply called Blair Witch, are undeniable. Thank Adam Wingard and Simon Barrett for this. Their mark on the indie horror scene has definitely been made with hit films like You're Next, The Guest, as well as the V/H/S pair of anthologies. There doesn't seem to be a more perfect union between filmmakers and project
It has often been said, "With friends like these, who needs enemies?" It is true that our friends can be are harshest critics; and sometimes you have to wonder why they were your friends in the first place. Catfight is what would happen if you confronted that friend and decided to smack them like a WWE Diva instead of talking it out like grown adults. Catfight, starring Anne Heche and Sandra Oh, written and directed by Onur Tukel – which just premiered at the Toronto Film Festival – is a strange story about a karmic cycle that not only escalates to violent physical altercations, but shows the repercussions of the aftermath.