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Justin Benson & Aaron Moorhead are a filmmaking duo that have quietly made some of the best genre films the indie world has seen in recent memory. Their first film, Resolution, switched up the game when it came to stories about storytelling, and Spring, for all its interesting & intelligent monster movie elements, is a heartfelt and beautiful tale of love. Their latest, The Endless, goes back to a storytelling well the team dipped into with their first film, but it plays on such an elaborately greater level that it becomes a beast completely unto itself. The Endless is a horror/sci-fi film like nothing the cinematic world has seen thus far and only serves to prove Benson & Moorhead as some of the strongest voices in the world of indie cinema.
A heist-style drama about genius high school students and their task to pull off the ultimate, cheating scam on behalf of dozens of wealthy peers doesn't quite sound like the nail-biter Bad Genius ends up pulling off, but here we are. The Thai film we do get, which is directed by the very talented Nattawut Poonpiriya, not only brings with it a whip-smart screenplay, it's an incredibly intense caper loaded with crackling dialogue and impressive performances that ranks up there with recent, instant classics like Moneyball and The Social Network. Poonpiriya keeps your attention from beginning to end and ends up delivering one of the tautest thrillers (without really being a thriller) to come along in some time.
Sometimes when transferring a novel to a film, the best way to go is a straight, no-frills adaptation. The author has said all that needs to be said on the subject, and the job the filmmaker undertakes is simply bringing that source material to life through visual representation. With so many adaptations of the works of Stephen King already made - and many more just on the horizon - it's refreshing to see a film based on his works sticking so closely to the book. Enter Gerald's Game, based on the 1992 novel, directed by Oculus and Hush director Mike Flanagan. A streamlined adaptation, the film hits with surprising intensity and delivers ample amounts of atmosphere and scares. It also boasts a career-best performance from Carla Gugino, who aids in raising Gerald's Game to the levels of some of the very best Stephen King adaptations.
Greek filmmaker Yorgos Lanthimos is quickly becoming the master of the subtle, upsetting burn. He first cocked heads with 2009's Dogtooth and brought the same level of weirdness and dry, uncomfortable humor in 2015's The Lobster. His latest, The Killing of a Sacred Deer, is his most accomplished work to date, a tale of the question of morality in a seemingly peaceful, domestic setting and with a rather large dose of that dry humor he gleefully uses against his own audience. Lanthimos' films don't hand deliver answers, instead forcing the viewer to figure it out along the way all the while asking themselves the very same questions playing out on screen. Sacred Deer is no exception and could go down as the filmmaker's masterpiece.
Norwegian filmmaker Joachim Trier is an artist whose works are always delivered with a healthy dose of message. With Oslo, August 31st (2011) and Louder than Bombs (2015), the filmmaker broke onto the scene ready to force the viewers of his films into deep reflection and meticulous thought. It's no surprise that Trier's latest film, Thelma, comes with that same level of analysis but with an increasingly engaging, sci-fi/horror tale to go along with it. Thelma is a slow burn film, but what starts out as a low simmer eventually builds into a rolling boil, all of which is presented to the viewer with outstanding execution. It's the kind of horror story that keeps the viewer's skills of dissection at work long after the film is over.