ENJOY THE MOVIES
I was just a student when I first learned about Ed and Lorraine Warren. My friend and I decided to give a presentation about them and their work fighting against demonic forces. After seeing the first installment of The Conjuring, I was blown away by James Wan's intricate storytelling and the film's elevated uniqueness within the horror genre. The third installment in this horror franchise, The Conjuring: The Devil Made Me Do It, directed by Michael Chaves (of The Curse of La Llorona previously), possesses a divergent feeling. It falls rather short of its predecessors; however, its fascinating story based on true events, along with actors Vera Farmiga & Patrick Wilson returning as Lorraine & Ed Warren, still charm and spook.
I must admit, I was terrified after watching Saw for the first time. I was thinking about Jigsaw coming after me and telling myself that I needed to set a good example – I was in middle school at the time, after all. When I re-watched the entire series a few years later, I saw the franchise in a completely new light. Instead, I concentrated on what John Kramer was attempting to convey to us – a torturous lesson about morality and the consequences of his victims' actions. In Spiral, the new and refreshed thriller "From the Book of Saw", Darren Lynn Bousman (also the director of Saw II, III, and IV) doesn't exactly reinvent the killer genre. Still, he certainly takes the unusual atmosphere of the cult franchise and blends it with contemporary components, creating a thrilling, bloody spectacle that feels like a captivating ode to its predecessors.
Imagine suddenly waking up disoriented in an unfamiliar place. As you walk through the narrow, round tunnel hallway, you reach the window and look out to see space – vast, uncharted blackness with millions of stars. Suddenly, you spot the Earth, your home. That's where you're supposed to be and where your family is. Soon you learn that you're now on a two-year mission to Mars, and you're not coming back any earlier than that. That's the situation that Michael (played by Shamier Anderson) finds himself in at the start of this film. In the Netflix Original Stowaway, directed by filmmaker Joe Penna (of Arctic previously), the characters must fight to survive their voyage in space while struggling with existential questions throughout.
When we think of "elders", we usually think of our grandparents or grand-uncles, or even that nice lady who works in a grocery store and always talks to you and asks you about your life whenever you stop by. This is normal. However, shady legal guardian Marla Grayson in I Care a Lot, filmmaker J Blakeson's latest film (after The Disappearance of Alice Creed and The 5th Wave), only thinks of them as a constant flood of cash. Blakeson's dark comedy thriller is a chaotic mix of genres, a crazy rollercoaster ride, and it certainly saves itself with a stellar cast and a storyline that is interesting enough to keep us invested right up until the end.
What would you do if you knew that the world was ending? Liza, played by Zoe Lister-Jones, sleeps in late, then eats the tallest stack of pancakes possible. For her last day on Earth, she decides to participate in her friend's farewell party. But first, Liza has a few tough conversations lying ahead. Lister-Jones, also the co-writer and co-director of How It Ends, perfectly captures Los Angeles' panorama while teaching us about the significance of loving yourself and dealing with past regrets. If you're asking about Liza, there's one weird, most incredible thing about her. No, it's not the fact that she invented an app and now lives in a large, modern house. It's that she is constantly in the presence of her younger self. Younger Liza, played by Cailee Spaeny, is a personification of conscience for the older Liza. She's there to listen to her and advise her. She's usually invisible, but the last day on Earth is exceptional because everyone can finally see her.
Before blood-dripping horror movies became an integral part of our pop culture, there were "video nasties." The term was born in the UK and referred to the gory, violent films, mostly C-level creations, distributed on VHS tapes and heavily criticized by the press, government, and society. While some people basked in said horrors, at the time the UK government feared for children's safety and the effects that these films could have on individuals. In the Sundance premiere Censor, directed by Prano Bailey-Bond, Enid (played by Niamh Algar) has an unusual job. Depending on the amount of violence in each film, her assignment is to determine whether the horror film passes or is rejected. Her days are saturated with scenes of blood, gore, and oftentimes rape. But she believes thoroughly in her work. Enid prevents people from seeing too much, continuously thinking about their mental health and psyche. She is the titular censor, and she thrives on it.
Body swap movies have been with us for as long as we can remember. In the original Freaky Friday from 1977, Jodie Foster's character switches places with her mom, played by Barbara Harris. In 18 Again!, it's a grandfather and his grandson. The switch always differs. It can be because of a car accident, magical potion, or a wish cast during the full moon. It can also be a demonic ritual involving a mystical blade – that's what happens in Freaky where a teenage girl switches bodies with a serial killer. This horror comedy, directed by Christopher Landon (of both Happy Death Days), written by Michael Kennedy (Fox's "Bordertown") and Landon, is a bloody feast for every slasher fan, packed with inventive deaths and campy characters.
For as long as I can remember, I have always been very interested in witches – especially on screen. I used to watch "Sabrina the Teenage Witch", "Charmed", and many other shows. Hence, it's no surprise that when I discovered The Craft, I immediately became obsessed. The film from 1996, directed by Andrew Fleming, is, without a doubt, a Halloween must-watch. Which is why I was incredibly happy to hear that Zoe Lister-Jones wrote and directed a follow-up to the events that transpired in the first movie. Directing her second feature, The Craft: Legacy, Zoe Lister-Jones showcases magic, sisterhood, toxic masculinity, and more.
Screened as a selection of the virtual 2020 Fantasia Film Festival. It seems as if one of the common themes in many films this year is stalking. Back in February, we got to see Elisabeth Moss fighting the "Invisible Man". This heinous act, appearing more and more in TV & film, relates to many people on a personal level, especially women. We can see similar themes (and more) in Lucky, the spine-chilling thriller directed by Natasha Kermani (her third film following Shattered, Imitation Girl) and written by actress / filmmaker Brea Grant (director of this year's 12 Hours Shift), who also stars as May, the main character of the film. What makes Lucky unusual is its post-reflection consideration that lingers long after finishing the thriller.
Screened as a selection of the virtual 2020 Fantasia Film Festival. When nature is one of the key elements of a film, it usually touches on humanity's relentless power of destruction. This theme is a major part of the newest eco-horror feature, Unearth, co-directed by John C. Lyons (Schism, There Are No Goodbyes) and Dorota Swies (Schism), from a script written by Lyons and Kelsey Goldberg. This self-described "fracking horror story" captivates audiences with its intense storytelling and, most importantly, the lessons hidden within. Next to phenomenal directing, its cast, especially Allison McAtee, deliver gratifying performances.
When I was in school growing up we studied a painting that particularly captured my heart and my mind. Its title, Where Do We Come From? What Are We? Where Are We Going?, is a perfect description of the events portrayed in the painting. The French Post-Impressionist painter Paul Gauguin created this masterpiece in Tahiti, painting characters that are meditating on the questions about human existence listed in the title. We ought to study the painting from right to left, starting with a sleeping child's figure and ending with an old woman near her death. These same existential questions immediately came to mind while watching I'm Thinking of Ending Things, the latest feature film both written and directed by Charlie Kaufman (director of Synecdoche New York, Anomalisa). Based on the debut novel by Iain Reed, this metaphysical thriller-drama touches on captivating ideas such as dreading existence and merciless aging of human being.
Screened as a selection of the virtual 2020 Fantasia Film Festival. Many stories begin with, "a man walks into a bar." They are often light jokes, but some involve bone-chilling circumstances and plot twists that we would never expect to follow. The latter transpires in The Oak Room, a suspenseful thriller from Canadian filmmaker Cody Calahan (Let Her Out) and written by Peter Genoway (Masks). The creators set the story during a frosty storm in a small, dim-lit bar. What captures our attention right away is the filmmakers' ability to generate anxiety around a variety of storylines and surprise us with sudden twists and turns in the film. Calahan also highlights the tremendous value and significance of well-crafted, enigmatic storytelling.