Author: jbg

FRED CLAUS (2007)

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Directed By: David Dobkin

Written By: Dan Fogelman

Story By: Jessie Nelson and Dan Fogelman

Cinematography: Remi Adefarasin

Editor: Mark Livolsi

Cast: Vince Vaughn, Paul Giamatti, Kevin Spacey, Rachel Weisz, John Michael Higgins, Elizabeth Banks, Kathy Bates, Miranda Richardson, Chris ‘Ludacris’ Bridges, Bobb’e J. Thompson

Always living in the shadow of his younger and utterly popular brother, Nicholas–or the one and only, Santa Claus–the polar opposite of his holy sibling, Fred Claus, now faces an unforeseen predicament that drags him all the way up to the frozen North Pole to beg for Santa’s help. However, there’s a catch. To get off the hook, Fred must work his fingers to the bone along with the jolly elves during the hectic pre-Christmas Eve period, against the backdrop of a thorough and merciless efficiency inspection. Can the wayward brother Fred save himself, and above all, Christmas?

This film has very few factors going for it. The Christmas morning scene is the only time this film truly feels believable and shows the beauty and heartwarming side of Christmas. It’s about family, magic, happiness, and amazement, and that one scene finally touches what the whole film is supposed to be about.

What comes before is more of a shallow exercise that wants to be heartwarming but comes across as conniving and faking the funk.

The problem is that it builds up this whole fantasy realm and lower, but doesn’t exactly quite explain it or give the rules so that’s your loss so that you can just throw anything in there. sort of like Vince Vaughn is supposed to be the older brother of Santa Claus, but they never quite explain how long Santa Claus has been in his current position except that he was born for it. Even in a certain part of the movie remember that a certain character wanted a gift way back in 1968 but Vince Vaughn is the older brother has he been away from the North Pole and living in the real world and why doesn’t he age or have any certain magical powers, that he pretty much struggling for the most part and afraid to get into a romantic relationship.

That last part helps when it comes to explaining his mentality thinking he’s afraid of attachments because he’s on the out with his family so he doesn’t really trust anyone even the people he should because he’s all out for himself but throughout the movie learns to love his family, who have always just wanted the best for him And others and together for greater cause.

Which is a great message. You just wish that the film had bothered you. To find a plausible and more believable way there. it just feels like a comedy built around the holiday built around the persona of star Vince Vaughn. He is a good actor and works well as a fast-talking hustler as that is his stick so it’s no surprise to find out that most of his lines were the result of improv.

However, that style doesn’t quite match the material as it’s better in his more R-rated juvenile comedies rather than a family film as it just makes him seem more like a bumbling liar half the time or a bumbling man. One who would never believe.

Kevin Spacey makes no sense as an efficiency expert but who sent him that’s never explained. Why is he hell-bent on taking down Santa and what was he going to replace the North Pole in the factory with never explained how to get away with his plan at parts and times he even cheats to sabotage Santa. So you would think the powers that be if let’s say this word to become a religious film when they see that and Disapprove?

Understandably these are things you’re not supposed to think of when watching this film but the shenanigans that the film produces you can’t help but think that. One this is obviously made for children and families. There should still be some explanation rather than feeling like the film is like the main character making up things on the spot.

I don’t want to be a Grinch. The cast tries Vince Vaughn, whose movies can be hit or miss nearly seems like for the most part. He isn’t sleepwalking through this role, but he doesn’t seem that enthusiastic all the time to be there so he does bother to put in high energy, this just wasn’t the material for him.

It’s rare that a scene works sort of like when he goes to therapy for brothers who don’t feel they get enough credit as their more famous brothers that was funny but could have gone a bit over the top and been funnier, but it feels like it’s holding back mainly because it’s a family film, but also exposes the film as being more of a series of skits with an overall story rather than a true film.

Grade: D

HERETIC (2024)

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Written & Directed By: Scott Beck & Bryan Woods 

Cinematography: Chung-Hoon Chung

Editor: Justin Li 

Cast: Hugh Grant, Sophie Thatcher, Chloe East, Topher Grace, Elle Young 

Two young religious women are drawn into a game of cat-and-mouse in the house of a strange man.

This is a film. One wishes they could’ve made it as at first it seems so simple, but as it goes along, you realize how twisted everything is and that it also exists on a delicate balance

The script is intricately written and can go a million ways at any moment. Luckily it stays on a certain path makes it all the more intriguing. 

There will be many who will be In Tune with its debates and theories. At least in the first half of the film. 

It’s a tight thriller that sues its Location inventively and makes it claustrophobic. As with the design of the location the Film, characters, and story offer up their mazes to try and solve. The camerawork by Chung-Hoon Chung makes the spaces seem sumptuous and a world unto themselves. 

Hugh Grant finally gets a role where he doesn’t have to play off either his public persona or what audiences know him for he gets to play a role with the recent villain role, which gives him some really good meat on which to chew and show off his skills and remind you that he is a good actor.

As he shows the human equivalent of mansplaining. That most women will identify with if ever had a date, friend, or family.

A member who wants to show off his smarts and theories and is truly trying to impress about a subject you are not necessarily interested in but must show superiority in. 

It’s not perfect in the third act. That is where the film gets a little wobbly and brings the film back down to earth and reality. It is impossible to keep up the momentum Of the first half completely without having to offer some Explanations. as well as offer the audience the release that they desire. To make it mroenofna crowd pleaser. 

I won’t call it a fun ride but one that keeps your interest throughout and will want to have conversations about after. Even if not as shocking as you might expect. 

The writer-directors Scott Beck and Bryan Woods have truly made a film worth investing your time and attention. Much better than their previous films, A QUIET PLACE which they wrote and 65 Which they wrote and directed and this film Is leaps and bounds above the special effects-laden 65 starring Adam Driver. 

Grade: B 

THE WATCHERS (2024)

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Written & Directed By: Ishana Shyamalan 

Based On the Novel By: A.M. Shine 

Cinematography: Eli Arenson 

Editor: Job Ter Burg 

Cast: Dakota Fanning, Georgina Campbell, Olsen Fouere, Oliver Finnegan, Alister Brammer, John Lynch, Siobhan Hewlett 

A young artist gets stranded in an extensive, immaculate forest in western Ireland, where, after finding shelter, she becomes trapped alongside three strangers, stalked by mysterious creatures each night.

This film is disappointing now much will be sad because this film is from the daughter of M. Night Shyamalan, Ishana Shyamalan. There have already been calls of nepotism or Nepo baby feeling that she only got a big studio release because of who her father is and the fact that he also produced the film. 

Now the film is in a similar style of being something supernatural and mysterious, and having a twist. Unfortunately, it doesn’t make good on its prints as the trailer for this film intrigued me as you didn’t exactly know what was happening. She also follows him and his more recent footsteps of adapting, a little-known or well-hidden novel for the big screen that if not for some research you would think would be an original script. That would work for her father, as his name comes with a certain pedigree and is bigger than any source material.

Once you watch the film and the story is fully explained there would be less mystery, but the problem isn’t that there is less mystery. It’s that it just doesn’t seem the greatest thought out as the script is barely subtle, and along the way becomes a bit predictable or if not predictable it’s nothing you haven’t seen before and other films so that here it just feels like a hodgepodge of ideas combine together to try and make the story work.

It feels more like a first draft than a fully thought-through and finished story. There seems so much potential in the setup, never quite comes together in a meaningful or sensible way, Which is especially shocking considering it’s based on a novel.

The direction is quite inspired and the cinematography is tight, but the rest of the film feels so empty. It’s one of these films that by the end. You don’t really care. You’re just happy that it’s coming to an end. 

Rarely offers surprises or suspense you watch as it goes along and hope it will get better along the way with its twist and it rarely does.

There is a glimmer of hope and promise here, though tighter scripting and a better follow-through will be needed. Especially to follow either in her father’s footsteps or even the car out an original artistic voice of her own.

Grade: D 

IMMACULATE (2024)

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Directed By: Michael Mohan

Written By: Andrew Lobel 

Cinematography: Elisha Christian 

Editor: Christian Masini 

Cast: Sydney Sweeney, Simona Tobasco, Benedetta Porcaroli, Alavaro Morte, Giorgio Colangeli, Dora Romano, Giulia Heathfield Di Renzi, Giampiero Judica 

Cecilia, a woman of devout faith, is warmly welcomed to the picture-perfect Italian countryside where she is offered a new role at an illustrious convent. But it becomes clear to Cecilia that her new home harbors dark and horrifying secrets.

This film came out at an interesting time. It seemed to be on the heels of the similarly themed THE FIRST OMEN. Though at least this can be considered more an original than a prequel.

This one despite having a rising star in the main role and own in a supporting role. Comes across as more heartfelt ultimately. However, what truly makes it memorable is the surprising and somewhat brutal third act

Though the film offers violence here and there in act two. It seems like there is a lot of build-up going Along the way keeping scenes just intriguing enough. To keep you interested until it finally becomes more than what you expected.

Though the third act is very dark which might disturb some viewers and the reasoning behind some decisions and plans. Seems either silly or like it would only exist in a movie.

Sydney Sweeney is convincing in her leading role. She stretches her acting muscles and is not really dependent on her looks or body as much.

As the film is directed by Michael Mohan who has collaborated on the film THE VOYEURS from a few years ago and the show EVERYTHING SUCKS. Which is where this reviewer first saw her. So this offers her a big screen leading role and a director she trusts. 

This makes sense as this film comes off as a starring role. Made to appeal to the audiences’ fandom of an actor or actress and seemingly written for them or someone of that magnitude. Rather than truly a character role. 

The film offers exactly what you might expect and gives enough scares and violence to keep the horror audience happy. Other than a good ending it doesn’t offer anything that rises above basic.

Though a smaller production, it does feel a little more like a breath of fresh air as this film doesn’t go for campier or trashier aspects of similar material and more recent films.

Grade: C+

THE STONE TAPE (1972)

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Directed By: Peter Sasdy

Written By: Nigel Kneale

Editor: Geoff Higgs

Cast: Michael Bryant, Jane Asher, Iain Cuthbertson, Michael Bates, Reginald Marsh, Tom Chadbon, John Forgeham 

A research team from an electronics company moves into an old Victorian house to start work on finding a new recording medium. When team member Jill Greeley witnesses a ghost, team director Peter Brock decides not only to analyze the apparition, which he believes is a psychic impression trapped in a stone wall (dubbed a “stone tape”), but also to exorcise it–with terrifying results.

This is one of those slow films that ends up being more scientific throughout in terms of research and results, displaying that on the search for something supernatural. Keep in mind that this was originally a British television movie.

It’s not at all not only by today’s standards I can’t even imagine it being that scary back when it was made, but one was personally how the premises could be quite fearful.

We have seen this type of story before, but this was one of the earlier examples of that kind of film, which mainly focused on an investigation and the behind-the-scenes politics involved.

The editing and transitions in between scenes make one wonder if this was originally a TV movie.

By the end, it seems more effective as a story or book rather than a movie maybe because by now we have seen so many other films borrow elements and add to it to make it more entertaining or fill it out that it now feels more like a theatrical, dramatic interpretation or dramatization than anything else that seems like it would be more thrilling on the page rather than on the screen as the film presents there to be a great build-up for very little to happen.

For me, Jane Asher is barely recognizable from the Deep End to this film. In that film, she was the epitome of beauty and free love, but here, she seems more stodgy, quite a chameleon-like performance at least in my eyes.

Grade: C 

SNACK SHACK (2024)

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Written & Directed By: Adam Rehmeier

Cinematography: Jean-Philippe Bernier

Editor: Justin Krohn

Cast: Conor Sherry, Gabriel LaBelle, Mika Abdalla, Nick Robinson, David Costabile, Gillian Vigman, June Gentry, April Clark 

Nebraska City, 1991, two best friends get the chance to run the swimming pool snack shack, that later comes to be the perfect scenario for transgression, fun, personal discovery, and romance.

This film was kind of a quiet victory as it slowly rolled out and released a lot of people praised this film so I took my time before watching it and I have to say it’s heartwarming and a good film.

Even though it’s familiar, it doesn’t talk down to its audience and while being rebellious it still feels a bit suburban where it feels perfect for teens, even though set in 1991 as it gives them respect and hints of a little bit of nostalgia for the audience watching it.

Casting Nick Robinson in this film was a mini-stroke of genius for audience members who remember him starring in another coming-of-age summer film called KINGS OF SUMMER here it feels like he is passing the torch to the actors here.

This film has mostly what you would expect a romantic triangle and a love story best friends who might be growing apart, rebellious against strict parents who mean the best for their children, but also seem like strict disciplinarians for no reason smoking, drinking gambling, and scoring 

Though I do applaud the characters for being so financial and business-minded at such an early age and being go-getters, but also go a little wild, not only for the profits but even the ideas.

The film and the characters have a certain charm that carries the film to the finish line and goes over the audience. It seems a little more random even though you know that they’ll probably come the way in which they are handled seems a bit looser.

The film isn’t as plot-structured.  as a lot of these summer coming-of-age films usually are and there’s no real villain or deadline or person that they’re fighting against. It’s just the lazy hazy days of summer where one day everything seems to be normal and slow and then the next day full of excitement, then something shattering the next. There doesn’t seem to be an ultimate plan.

Though the film has many female characters, there’s only one female man, and it would’ve been nice if maybe there were some others to provide either commentary support or temptation, even if the main female is quite fetching so that you can understand why the boys are quite head over heels for her. Luckily they give her enough personality to be a character who could stand on her though rarely give her a chance played by the impressive Mika Abdalla.

It took me quite a while to recognize Gabriel LaBelle as the character of Mike. He played in another coming-of-age film MEET THE FABELMANS starring as a younger version of Steven Spielberg who directed the film. So once again he is in another coming-of-age story as one of the leads. Quite impressive and strong character. 

What is also impressive is that the film is written and directed by Adam Rehmeier, whose previous films have been riskier and, shockingly, he goes here for more of a family film vibe that while it has its vices never out of place or even racy. It’s nice to see his range as this is an enjoyable independent film just as his previous film KIDS IN AMERICA was enjoyable but a lot more hard-core and punk rock and its rebellion.

Won’t say believe the hype that it is a sweet surprise of the easy-going nostalgic coming-of-age cinema. 

Grade: B

INCOMING (2024)

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Written & Directed By Dave Chernin & John Chernin

Cinematography: Ricardo Diaz

Editor: Josh Crockett and Elizabeth Praino

Cast: Mason Thames, Ali Gallo, Isabella Ferreira, Thomas Barbusca, Kaitlin Olson, Bobby Cannavale, Raphael Alejandro, Ramon Reed, Bardia Seiri, Scott Macarthur, Victoria Moroles, Loran Gray

Four freshmen navigate the terrors of adolescence at their first-ever high school party.

This is a raunchy teenage comedy that feels like it is more made for teenagers of today, but in its own strange way, it still has a kind of innocence to it.

It will feel familiar for those who have seen plenty of team coming-of-age comedies, but it feels like it belongs more to this next generation as a kind of passing along the lines.

It’s raunchy in language, but it never quite feels exploited of strange and it just feels like a generally fun time and offers to teach lessons and its own rough way.

It is mostly all talk, plenty of action, but very little play and luckily no sex scenes. It stays pretty woke and equilateral though there is a surprisingly little bit of nudity that seems to come out of nowhere and is shocking, but that is as raunchy as the film gets other than language and a brief surprising sex scene out of nowhere. 

That proves at certain points that the movie is more for shock and giggles.

The adult cast here is mainly the big names and full of pros with Kaitlyn Olsen and Bobby Cavale, who plays more of a comedic supporting character that he seems to be getting expertise. This at least seems to have somewhat of a conscience, and it’s just more lonely than anything. 

Even though for all of its juvenile humor, this film can be quite charming and keeps an innocence about itself that stays not only entertaining but interesting throughout and truly tries to push the envelope at times, but never as far as one would expect or put it truly over the top.

No, the storylines and character motivations will feel familiar as it feels like a mashup of different teen movies. I’ll put in one, but luckily, it’s not a spoof or parody of those films. 

Though with the Netflix sheen. It comes across at times as trying to fill a niche for an audience or making it feel so businesslike rather than with a heart. 

All in all the film is a good time.

Grade: B-

BAD MANNERS (1984)

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Directed By: Robert Houston 

Written By: Robert Houston and Joseph Kwong 

Cinematography: Jan De Bont

Editor: Barry Zetlin

Cast: Pamela Segall, Joey Coleman, George Olden, Michael Hentz, Christopher Brown, Anne DeSalvo, Martin Mull, Karen Black, Kimmy Robertson, Susan Ruttan, Edy Williams, Stephen Stucker

Four teens on the run from an orphanage spring a fellow orphan recently adopted by a rich family, then trash the whole house.

This is a film I remember watching and liking quite a bit when I was a kid probably around eight years old, which is what strikes at the heart of this film who is this film really marketed towards it is too adult to truly be for children and to juvenile to really be for adults 18 even though most of the characters look to be just entering their teens and the material throughout is way too adult. In fact, it’s a rated R film.

This is a long way of saying they wouldn’t make a film like this today. The film is just trashy, sleazy, gross, and in very bad taste, but strangely it has charm.

At the heart of it, it’s very punk rock as it showcases, a rebellious youthful spirit against the more selfish superficial, and exploitation of adults. Not to mention everything moving along into chaos.

The film shows some adults in particular at the orphanage have a psychotherapist, who only wants to talk about sex to the young children there and seems to be very into bondage

The orphanage rundown prison or who uses a cattle pro and all of the teachers seem to be nuns

The film has two nude scenes. unnecessary, but we’re kind of in at the time and probably helped get more eyes on the film of whichever audience. They intended the teens and the adults giving them a reason to watch it as I might have done the research and saw in the rating it’s rated R for you know, graphic violence, nudity sexual situations, and language only here with more nudity and language

It doesn’t really have any sex in it luckily but there is just a certain vibe to it. That feels like anything taboo will be at least hint or watching it now it’s amazed that it even got made.

as I will admit at the time, one of the reasons, I probably became a fan of this film was Pamela Segall who knows who now goes by Pamela Adlon, who is in a bunch of movies I saw on cable GREASE 2 is where I first saw her and then this film and then the movie SOMETHING SPECIAL a more teenage appropriate movie. Though not as wild. Even later in her career, playing the tough gal usually but one who is down to earth and could definitely hang with the men on equal footing while also being noticeably attractive. Which has made me a lifelong fan of hers.

One of the problems of the movies is that you hate most of the characters or dislike them, as even the kids aren’t exactly likable. They all seem very troubled and while you want them to win, you probably wouldn’t want to take care of any of them or be in charge of any of them, but as the movie tries to keep us, and if they wanna act like they are adults

As the kids are just unruly and seem to want to always break the rules and cause trouble, and they all have different character types not clearly defined, but rambunctious

It just makes me wonder what there was as a respectable cast of Martin Mull, Anne DeSalvo and Karen Black in it, apparently, all are here cashing checks, but they still give their all in their performances. 

I will admit Martin Mull  is also another big pole for me to watch a film even when I was a kid I was fascinated by him or the characters he played.

The film was even shot by renowned future cinematographer and filmmaker Jan De Bont (SPEED) 

None of the actors who played the main gang of kids really appeared in too many future film or television roles. Though Joey Coleman, who played Whitey was in the documentary and open secret about child abuse, and pedophilia in Hollywood.

It is also one of the rare roles of Stephen Stucker outside of the AIRPLANE spoof movies. Playing a similar over the top comedic role. 

on the one hand, I admire that this film got made at all as it just shows how wild the 1980s were when it came to so-called teen or youth oriented films. The film certainly isn’t well but it is a fascinating watch for what they did and get away with at the time.

as a childhood memory of entertainment, I am shocked that my parents let me watch this many times, but also it kind of has a special place in my heart. I know it’s nostalgia isn’t always the greatest especially when it comes to something that might be an inferior product, but this stays with me, I wouldn’t necessarily recommend it but for those who look for more trashy Cinema, I would say give it a chance or give it a look

Grade: C 

BOILING POINT (2021)

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Directed By: Philip Barantini 

Written By: Philip Barantini and James Cummings 

Cinematography: Matthew Lewis 

Editor: Alex Fountain 

Cast: Stephen Graham, Jason Flemyng, Vinette Robinson, Alice Feetham, Ray Panthaki, Hannah Walters, Lauren Ajufo, Malachi Kirby, Taz Skylar, Izuka Hoyle

Enter the relentless pressure of a restaurant kitchen as a head chef wrangles his team on the busiest day of the year.

Some people might compare this film to the television show THE BEAR even though this film came out first. it does have the intensity of that show’s pilot and its most agonizing episodes. With a head chef, dealing with all the calamities and kitchen crew not to mention his personal problems. 

Interestingly, The film did have a four-episode television spinoff that, I have not watched, but seems to be the story. For this review, one will stick to the film and its perimeters.

Though this film isn’t as comedic, is its own animal and maintains its own identity, dealing with all the different pressures in one evening. The staff’s constant interaction with one another, and also shows more interaction with the customers and their individual and seemingly difficult demands at times.

This film is made to look like it takes place all in one continuous shot or one take. The film is a little more detailed and showcases its construction. As well as the meals construction.

We see how the kitchen must run like a well-oiled machine, so must the film and direction. it’s also revelatory that not all the crew are doing what’s best for the team some can be downright selfish and more self-serving. Especially in one scene where the bellboy takes a trip outside and it allows for the film to take us out of the chaos for a bit of a cleanser. As we see the nefarious dealings.

It’s those moments where we can have a bit of the character’s own drama while dealing with the main narrative that makes it successful and helps steer the ship. As in the slow burn, everything comes to a head. 

Showcase is being part of a team that you were only as strong as your worst worker. The continuous pressure is felt throughout.

As well as giving a voice and allowing the audience to witness the hardships of the workers, the hardships of the service hospitality, industry, and the abuse faced by them from customers and other staff when it’s coming from both ends, where are you supposed to find your peace.

The film offers no real resolutions to some problems, though it does reveal quite a bit or hints at things that can cause frustration. Though, we are only here for one evening so it’s not that type of film where everything will be tied up by the end. It offers many surprises.

The film is like a thriller so much suspense and reserved intensity yet it stays action-packed to a degree. So that it’s identifiable and just as frustrating as real life at times.

Stephen Graham scores another great damaged character holding on by a thread who seems to have a calm demeanor, but seems to be crashing underneath. He gives a great memorable performance at the center and knocks it out of the park seeming like he can do no wrong in a role, but this is an ensemble effort. He stands out as much as the rest of the cast. Which is the film’s definition.

What is so powerful about the film is that the audience’s opinion might constantly change about certain characters as the reveals and connections happen. So by the end of the film is a roller coaster hitting rock bottom. There are so many highs or maintenance levels. Either way, it’s all well executed.

Meticulous. Beautifully crafted and constructed Like a well-crafted meal with a strong aftertaste. Which is what makes it all the better, Loved it. 

Read about it when it came out. Unfortunately put it on the back burner and finally got around to watching it… in amazement. 

Also shoutout to Lauryn Ajufo whose character is so punished throughout and eventually gets a moment of manners. Really felt for her the most throughout mostly 

This is a film that needs to be discovered and more people need to see this.

Grade: A 

FULL TIME (2021)

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Written & Directed By: Eric Gravel

Cinematography: Victor Seguin

Editor: Mathilde Van De Moortel

Cast: Laura Calamy, Anne Suarez, Genevive Mnich, Nolan Arizmendi, Sasha Lamaitre Cremaschi, Cyril Guei, Lucie Gallo, Agathe Dronne, Mathilde Weil, Dana Fiaque 

Just when Julie finally gets an interview for a job that will let her raise her children better, she runs into a national transportation strike.

This film seems to have the mentality that when it rains it pours.

It seems the first to be such a simple film. You know a single mother trying to do better for her kids and her life by trying to get a better job you know pays more maybe a little closer to home better hours. 

Then it turns it into a thrill a minute story of tension as she has to deal with bringing the kids to this babysitter, then trying to get to work on time where you know either trains are off schedule or late or you know the workers are having a strike, and She has to take a different route or find a totally different way to go to work 

Even you know, kind of flirting with someone who she’s not necessarily really attracted to, but she knows it suite on her just so she can get a ride and then shockingly him rebuffing her. so that even her sideline romance seems to fail in the middle of all her other hardships you rule for her throughout, but feel the loss.

And then not only that struggling to get to work late with her supervisor notices and penalizing her for but then also trying to get back home on time to pick up her kids on time you know it’s not quite run Lola run or that was it character dealing with all these different fates and felt kind of mystical this is just hard-core reality.

Justice things seem to go positive for this character they always seem to be a curveball throw as we watch in the way that she has to maneuver for survival as she faces one challenge or dilemma at a time, and usually after another close together.

It’s a portrait of one single mother that speaks for a number of them out there as they try to do their best for themselves, and most importantly, their families, and the seemingly increasing levels of difficulty and challenges they must face it seems even just to break even.

Her ex seems to disappear, avoid, and take no responsibility or offer solutions. You admire her to a degree, and the film teaches. You have to take it day by day moment by moment, each one seems to be worse and truly a horror film of its own.

Thank you to John Waters, whose list of 2023‘s best movies listed this film as one of them, or else I probably never would’ve heard of it, or probably not for some as the film is exhilarating and exemplary 

Grade: A