After living 250 years in this world, Augusto Pinochet, who is not dead but an aged vampire, decides to die once and for all.
This film plays like a satirical fairy tale mixed with a darkly comedic gothic horror film.
The film is heavily visual, stylish, and pretty. Though short on story. So that the audience glides upon the ambiance
The film comes across more as a book as it explores the history of the main character. Through bits and pieces yet more through details and voiceover.
For its vastness, it feels a bit more like a hangout movie. The story is mainly told in the estate of Pinochet. His own kind of Dracula. Seducing, massacring, and falling in love. Proving to be a bastard through and through. A with most of the characters throughout. As we watch and try to predict who is the worst.
It offers some depth but gets by on its beauty. That it tries not to use too much. Overall it feels like a good piece of writing that might have worked better as a book or short story, maybe even a play. The film offers more of a visual feast and those details more play in the background. Yet provide a reason for the beautiful shots.
The film does offer several twists and strangely gets a bit romantic with an overall theme of loyalty.
The film is filled with creativity filmed in black and white that is a reminder of the timelessness of the character. As well as the world he lives in with a nod towards the classic universal monster horror movies.
If you are looking for action. You have come to the wrong film, unfortunately. It does offer more storytelling than anything with a European feel.
The film is lived in and filled with older characters throughout and only one true young character.
Bride-to-be June’s bachelorette getaway turns deadly when her bloodthirsty fiance and his friends show up to crash the party.
This is an entertaining B-movie. It’s a TUBI channel original. So you know what you are going into with this film. You only hope that it offers some surprises. Though much better than expected by a director who actually goes by SPIDER ONE.
Even when it has its chances to be inventive it doesn’t go where you are hoping. It tries to keep you on your toes but offers nothing that exciting. Even though it stays pretty dark throughout.
Once again women are mainly the victims of men throughout. Only here mix in some old-school rednecks. The problem is that the females are far more interesting than the men. Which helps you feel something whenever anything happens to them. As they raise the stakes.
Thought the film would be more of a slasher film until it turns a little supernatural.
The film has an interesting premise that could have been explored more, but it sets its own speed. As everything escalated pretty quickly. So that it can’t explain everything. Like many questions, you might have by the end.
For instance, how was anyone charmed by the redneck groom. She has no need to be that desperate
Then again that’s what sequels are made for. As Star, Co-Writer, and Editor Krys Fox Seems to have most aspects of this film handled. s it seems a project she built for herself from the ground up
The film is entertaining as long as you don’t think too hard about it and don’t ask too much of the material.
Directed & Edited By: Jason Eisener Written By: John Davies & Jason Eisener Cinematography: Mat Berkley
Cast: Dominic Mariche, Pheobe Rex, Calem MacDonald, Asher Grayson, Ben Tector, Emma Vickers, Isaiah Fortune
An all-time rager of a teen house party turns to terror when aliens attack, forcing two warring siblings to band together to survive the night.
This Is like an R-rated Amblin film, but it seems to lack heart. It gets points for presenting a more realistic at times version of characters and events, it also seems to have a cruel heart that seems determined to show the worst. Not cynical and humorous, just evil characters at times.
So it lacks a certain Joy and commitment of a film like PSYCHO GOREMAN. As a kid’s film with childish sensibilities. This seems more made for adults and just happens to involve kids as main characters.
Amblin films put kids in danger with steaks but also provide a bit of nostalgia or make you wish you went on those adventures. This is more bleak.
The film is an extension of one of the short films from V/H/S 2. So it’s coming from a macabre cinematic universe. Where it seems determined to break the rules, be deletions, and go overboard altogether.
You can call it a kids film and an alien invasion film With some drugs, violence, and more. Taken from a youthful outlook. It has a little adult outlook and a more independent version of the film McG’s RIM OF THE WORLD. Though similar this film has rougher edges.
You have kids cursing constantly and some scenes of violence. Where it feels like it could have been made by the kid’s characters in the movie. Only with more skilled production design.
The film offers an ending that is as cruel as the movie comes off at times. Which makes the whole endeavor not as much fun as it seeks. Which is a crucial element in films of this type. As there isn’t quite a mixture that works here.
It comes across as a fashion sense of the times. As short as it is. It stays somewhat entertaining in where they are going with this and how far.
The aliens are basic and look a little better than guys in suits.
I really wanted to like it, but can only give it a mild recommendation depending on what you Are looking to get out of it.
Written & Directed By: Jennifer Reeder Cinematography: Sevdije Kastrati Editor: Justin Krohn
Cast: Kiah McKirnan, Alicia Silverstone, Christopher Lowell, Tim Hopper, Audrey Francis, Ireon Roach, Josh Bywater, Melanie Liburd, Taylor Kinkead
Jonny, a wild and impulsive teenage girl living precariously in a town where young women continue to go missing, and the power she’s forced to unlock to survive.
This film is quite interesting as it has an amazing amount of ambition. Yet it tries to be low-key about it and treat what happens as business as normal. Even though we in the audience realize that everything is just a little off. Even the so-called normal scenes.
The film comes across as campy but at odd times. As it will go through a terrifying or dramatic scene and then just go off on its own. At first, the film is mysterious, but as it introduces teen characters it gets predictable.
Especially Alicia Silverstone’s performance and character. She is a delight though she seems like she is in another film which helps keep this one off-kilter. She plays a pivotal role but comes across more as a guest star.
Just as Christopher Lowell seems game for whatever is thrown at him. His character changes personalities and has varying intensities so often.
This film floods itself with different stories and issues and it tries to solve as many as it can in its time. While still leaving other mysteries. So that it feels like the first of a series.
One can appreciate that not everything is tied up in the end. Those problems persist, but a new phase has been entered allowing the protagonist to understand herself more.
That there is a mystery that drags you along and creates others. The film mines small-town weirdness and high school once again.
Director Jennifer Reeder has a David Lynch-like command of direction. A mastery of soundscapes that are haunting but tend to intrigue the audience. While this has similar beats and owes to Lynchian suburbs and weirdness bubbling underneath the normal.
The film has a great soundtrack that allows for atmosphere and a bit of attitude. It sets a mood.
Though some details leave you guessing. As in a majority of scenes, it seems like this is an all-girls school, but then there will be a random boy in a scene there.
Some of the special effects can be lackluster but more so when they are digital rather than practical.
The film seems to want to say a lot about body image. As even a guidance counselor throughout the film seems to be there to advise the young students but it always seems to be in recovery from one cosmetic surgery or another. This would also explain the constant body horror themes and scenes of various bodily Fluids splattered about. It gets gooey and is disgusting at times.
For all the surreal mayhem though explained at times it never quite comes together cohesively. Though as a film about coming of age and metamorphosis, it does go hand in hand as material. Metaphors themselves.
After it’s over it does haunt you. as it gets you thinking about it and leaves plenty of questions. Though it is likely to frustrate most.
Directed By: Yoko Okumura Written By: Salvatore Cardoni and Brian Rawlins Cinematography: Federico Verardi Editor: Michael Block
Cast: Midori Francis, Jolene Purdy, Michael Patrick Lane, Missi Pyle, Brett Baker, Nicholas X. Parsons
Sam receives a call from Emily, a nearly blind woman who is running from her murderous ex in the woods. She must survive the ordeal with Sam being her eyes using video call.
At first, this might seem like a gimmick film. A sit is based upon a video call between strangers that ends up becoming a theoretical life for both of them eventually.
However, it doesn’t stick to the perspective of that being all we see and that being how the story is told. It is not a minor part of the film. This Isn’t a film like SEARCHING or MISSING where the film is told strictly through video devices.
The film is fun as it goes along. Though it is serious and presents its own challenges for its Characters. It feels loose and experimental but also has style to a certain extent.
The film gets crazier as it goes along, but it somehow works. As we get to know and like the lead characters. Who are American Asian characters who mainly get bullied and stalked by white characters. Who expects them to be meek and take the abuse. Making it a bit political but more subtle.
It also serves as an obvious plot point of the film but the title can also be interpreted as how the characters feel in society in A certain way and also unseen as almost invisible
The film feels like a teen movie. Even though the language might be a little too much for a PG-13 rating they are most likely the ones who will enjoy the film the most.
This is mainly a thriller with some dark comedic elements thrown in. It goes by fast and its Running time is under 90 Minutes. So that it makes solid entertainment.
Each story keeps you captivated in different ways that gel together well and each lead character in the tales keeps you caring and wanting to see them survive and succeed.
You might not take it seriously but you will undoubtedly have fun with it.
Written & Directed By: Ari Aster Cinematography: Pawel Pogorzelski Editor: Lucian Johnston
Cast: Joaquin Phoenix, Nathan Lane, Amy Ryan, Richard Kind, Patti Lupone, Parker Posey, Stephen McKinley Henderson, Zoe Lister Jones, Kylie Rogers, Denis Menochet, Hayley Squires, Bill Hader
Following the sudden death of his mother, a mild-mannered but anxiety-ridden man confronts his darkest fears as he embarks on an epic, Kafkaesque odyssey back home.
This review isn’t a total explanation, as there is no such thing, but what at least as an audience member I came away with.
The film and the director Ari Aster, Take a swing at the fences in subtle ways. In the same style as most of his previous films. Though here it is more in your have. Yet still shocking as it is taking place in surroundings you wouldn’t necessarily expect.
Though the film does have a voice. It’s tough to determine if the audience speaks Its language fully. Though after a while it does become blunt with only a thin layer hiding the weapon.
Though it feels like a film made more for the director to enjoy and decided to share with an audience. And becomes a Film That others believed in and a film that could only be made when one has the power to write their own check. Their big swing at a dream project almost.
The first 40 minutes stay fascinating that it could be its own adventure. After that, it seems to become a little more maddening. As it moves along it stays unpredictable and becomes a road movie.
Whenever it gets to the next setup In this odyssey. It’s just as off the wall but feels more weird domestically than anything though it never quite feels as dangerous instead it just feels creepy.
As in the beginning, the character is on a journey physically unexpected just as he ends up on. emotionally. The tone becomes Unflinching, Surreal and ends up becoming the Ultimate guilt trip. While exploring Intimacy and lack of it. While being Terrorized by Anxiety and exaggeration. As All That he sees is danger.
No one can ever truly be trusted. Even those nice to him never feel comfortable exactly. So that he and the film stay obscure and unhinged.
It explores how we all can be easily dismissive. Not to mention Generational trauma, Mental illness as a kind of entertainment.
The film becomes Episodically violent at times. That is A punishment or torture. That seems preferable to the emotional violence that the main character goes through. As well as supporting characters.
It seems mundane and skewed but keeps raising the stakes and then when it seems to calm down it becomes random Again and manages to shock. So it keeps building though for some in the audience it might feel like it is either showing off or they get used to the wackiness and shock and it’s hard to reach a level within again as it seems par for the course. It might have its reasons to back it up, but for some, it might still make little to no sense.
Can see why some might not like the film as it can be a chore or a challenge to sit through. Some might see it as brilliant others might actively hate it or some might appreciate it yet not think it was all that. This is one of those films where many will feel different and take it differently. Though it will keep them talking.
As this is a film billed as a comedy that is easy to come back to and try to dismantle, explore and examine.
Through his travels to his apartment and to the store across the street. Have some of the most creative action sequences on such a small scale.
SPOILER ALERT
How I saw it is that his Big balls represented pent-up animosity and feelings. Showing his father as a penis monster in the attic meaning that to his mother his Father was insignificant and just a dick. Him always being defensive to a degree is how Defense was the last shred of his self-esteem and self-respect. That his Mother’s issues and has filled him with fear of the outside world. As he has this fear he constantly doesn’t
Know what was real or not. Was it a fantasy of projection or was it as it was presented and experienced?
Some might say that the ending is Warped and that he did die during sex and everything after are fantasies or illusions of his dying mind. Kind of like people who have their theories about the ending of TAXI DRIVER.
Though it does in some weird way come off as a more disturbing version of DEFENDING YOUR LIFE mixed a bit with THE GAME.
Based on the Book: LOSING THE SIGNAL By: Jacquie McNish & Sean Silcoff
Cinematography: Jared Raab
Editor: Curt Lobb
Cast: Jay Baruchel, Glenn Hoverton, Matt Johnson, Martin Donovan, Saul Rubenik, Cary Elwes, Rich Sommer, Michael Ironside, SungWon Cho
A company that toppled global giants before succumbing to the ruthlessly competitive forces of Silicon Valley. This is not a conventional tale of modern business failure by fraud and greed. The rise and fall of BlackBerry reveal the dangerous speed at which innovators race along the information superhighway.
This film isn’t as experimental as writer, Director costar Matt Johnson’s previous films. Though this one is more established it is still brimming with creative energy.
Maybe, as this is based more on a true story rather than him making it up, so this demands to have a stronger narrative. Though he still finds a way to make it a little unconventional, more personal, and smaller scale taking place mostly in Canada.
No, he does get to keep a certain experimental style and more handheld camera work that gives Scenes More Intimacy and feels like a fly on the wall. It is an amazing true story. That goes into the whole corruption of the souls and values. To make the best product around.
Though what most will be talking about when it comes to this film is actor Glenn Howerton’s performance mainly known for his performance in the Shell. It’s always Sunny in Philadelphia. Where he plays more of a narcissistic buffoon. Here he is a cold-blooded executive, who eventually becomes co-CEO of Blackberry and constantly seems angry and ruthless.
No, it is understandable, as he seems to be building this company as revenge for his recent termination, and believes in it so much that he is willing to risk his own future his mortgage to keep building this company so that even as Co-CEO he feels he is old, which is why he’s willing to even have to go through a legal means to keep this company growing.
What works is that he and Jay Baruchel’s characters are the Yin and Yang of each other who work side-by-side and off of each other, which helps the company work, but he has more influence over Baruchel character.
As Baruchel’s character seems to slowly lose his morals and sense of character. Luckily, Baruchel holds his own in a more quiet, subdued way.
Matt Johnson plays more of a supporting character in the background that represents his past and moral center, which is why, when his character kind of accents the film, everything takes it down.
Directed & Based On The Play By: Tina Satter Written By: Tina Satter & James Paul Dallas Cinematography: Paul Yee Editor: Ron Dulin And Jennifer Vecchiarello
Cast: Sydney Sweeney, Josh Hamilton, Merchant Davis, Benny Elledge
Profiles the arrest of 25-year-old Air Force linguist and NSA contractor Reality Winner for leaking classified information pertaining to Russian interference in the 2016 US Presidential election to the press. Adapted from the 2019 stage play, with dialogue pulled directly from Reality Winner’s FBI interview.
This film is expertly executed, but that is the strength of the film. End of itself is the execution of replaying and sticking to the transcripts of what actually happened, and then in their own way, the performers breathe life into the characters in the situation.
Which from a technical standpoint is amazing but from the audience’s point of view is intriguing, but not necessarily entertaining. Your interest in the film will be in either. How much you already know about the story or how little you know about the story.
As if you don’t know, it does build a cell that you keep wondering where this is leading to and why the FBI agent’s attitude and demeanor are play for one second and then Serious in the next, and every time she tries to make light of the situation or joke around they become severe, but every time she becomes timid then all of a sudden they’re so conversational and willing to joke around.
This started as more of a theatrical piece before being adapted into a feature-length film. It seems that it might be more interesting as a theatrical piece as in the film it cuts in and out of the actual transcript of the movie to pictures of the real-life reality winner in the character. That will take place in essentially one location found and does excel at opening it up so that it doesn’t feel claustrophobic even as they close in on her and see the trap of her and More and More Corners.
It’s more intimate than a documentary could be as it presents the facts and leaves you to come up with your own conclusions. The actors are all excellent and the performances are strong.
It comes across as simple and quick. Those serious in fact base it feels light.
Directed By: Raine Allen-Miller Written By: Nathan Bryon and Tom Melia Cinematography: Olan Collardy Editor: Victoria Boydell
Cast: David Jonsson, Vivian Oparah, Poppy Allen-Quarmbi, Simon Manyondm, Levi Roots, Karene Peter, Benjamin Sarpong-Broni, Malcolm Atobrah, Alice Hewlin
Two youngsters reeling from bad breakups connect over an eventful day in South London.
This film has a certain charm to it that is all-encompassing, and it just seems to flirt with the audience, and you have goodwill for not only the characters but the film in general.
As even the characters that we are not supposed to, like, are so colorful that they end up being enjoyable.
It’s a romantic comedy that has an innocence but continuously stays inventive throughout, and while it has its dark parts, it seems to always stay positive
It’s a visual, exciting, colorful, and inventive film, and it stays somewhat unpredictable as it serves as a love letter to not only the characters but also where is filmed in the south of London
Throughout the film, it’s obvious that the two main characters are meant to be together so it is fun watching them fall for one another as a tease flirt make out separate encourage and are there for one another
It’s also refreshing to see a love story between African-American characters and a love story that doesn’t involve cheating, nor does it rely too much on comedy instead of romance.
It’s definitely a modern, romantic comedy dealing with issues, but it also maintains a sweetness. where you root for the characters throughout, as they are more identifiable, and than most of the genre.
Even with its sidetracks into surreal imagery, the characters stay relatable and identifiable. It feels a little more real than most romantic comedies as the film stays witty so do the characters; they are people you know or would want to know. Their motivations are clearly understandable.
It’s a film that is fun to discover, and the less you know about it, the happier the film will ultimately make you. At times, it might seem like a shot like a music video. It is that colorful, but not as many rapid edits, and it stays creative and artistic at its heart as much as its characters.
It even manages to squeeze in a cameo, buy an Oscar-winning actor out of nowhere, and seemingly for no reason.
The only false note of the movie is the third act where they must separate, but you know they’re going to get back together. It would’ve been more inventive to come up with a better reason for them to separate than the one that is presented.
Either way by the third act when they are reunited, it is based off of themes earlier in the film and joy. It’s a fair that is grand in its own way.
Written, Directed & Edited By Kristoffer Borgli Cinematography: Benjamin Loeb
Cast: Kristine Kujath Thorp, Elrik Sabther, Fanny Vaager, Sarah Francesca Braenne, Fredrik Sternberg Ditlev-Simonsen, Andrea Braein Hovig, Steinar Klouman Hallert, Ingrid Vollan
Increasingly overshadowed by her boyfriend’s recent rise to fame as a contemporary artist creating sculptures from stolen furniture, Signe hatches a vicious plan to reclaim her rightfully deserved attention within the milieu of Oslo’s cultural elite.
This seems to be a film that was built more to disrupt shock and be a bit bad taste. And achieve its goal somewhat, but not as strongly, as it seems to aim. As it feels like at the last minute, he decided to smooth some of those sharp edges.
I’ll be honest, I expected more from this film. More of a satire, or just in general more of having something to say.
Now it works and shocks the audience and stays in a black comedy. By presenting us with characters who are thoroughly unlikable. Exposing their constant need for attention, where it almost becomes an addiction, even if it’s just sympathetic.
Some of the story elements still feel just a bit hard to believe, especially the fact that her boyfriend, who rarely seems to care, would have stuck with her throughout her supposed ordeal. As even if he was just staying with her to see her face, the filmmakers should have illustrated that a little more strongly.
The film doesn’t feel so far-fetched, especially in today’s social media-obsessed climate. Even surprisingly, the main character seems to keep their celebrity or popularity, more local and amongst physical friends no dreams of bigger prospects in aspects, even though there is no clear plan, necessarily as to where this is going to go, or when it will end.
This film had a chance to either be a character study while exploring a kind of sickness that is happening in some people currently or it could have just done the latter, and this is just one case of that addiction.
Instead, it spreads itself thin and tries to do both, but it’s on the way failing both ends of the story or only skimming the surface. As it ends up, not being as deep or probing, has one might help.
It’s not even bother some that the lead characters are unlikable, but throughout most of the characters in the film are unlikable, even the ones who are supposedly of a good character or a moral center. Most others just appear throughout.
The film tries to build scenes into either shock or like it’s building to this great punchline that never quite happens.
The best moments actually are the fantasy scenes that she has where she more or less reveals herself and her thoughts than anything we have seen or even heard about her. One also wishes there were more body horror scenes as the film can be gross, but not as much as some might think.
It’s definitely a found film checkout as there can be some discussions afterward, but it’s not as strong as you believe it will be.
Cut To The Chase 