Cast: Mary Woodvine, Edward Rowe, Flo Crowe, John Woodvine, Joe Gray
Set in 1973 on an uninhabited island off the Cornish coast, a wildlife volunteer’s daily observations of a rare flower turn into a metaphysical journey that forces her as well as the viewer to question what is real and what is a nightmare.
This is a film More about the filmmaking and mood than anything. Truly plot driven it’s definitely full of atmosphere.
It seems mundane at first and then slowly tightens Its grip. As Like the character it gets more maddening offering glimpses but never quite spelling out how they’ll fit or what they exactly might mean if anything
The film feels trippy and experimental at times but slowly leads you to figure out It’s pieces.
Though ultimately you will have to come to your own conclusions. It shows the main character who has no name descent into madness while isolated
Where like her you begin to wonder what is real and what is made up in her head or some kind of fantasy or nightmare she is living through
Strength of filmmaking only wish it was a bit of a stronger story.
It’s A challenging film for some audiences whether you are on Its wavelength ultimately or not. It is a folk horror tale that is in turns also psychological
It is quite a ride that isn’t exciting at first but the more you fit into it the more you will get out of it.
It is a film that demands your attention or you will find yourself easily lost. Which you might find yourself even when paying attention
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.
Born in a regional city, a young girl named Ai is sent to a cult commune by her religious maniac mother and lives there for seven long years. After the cult is exposed by the police, Ai starts a new, normal life going to a regular middle school, but can’t find a place to fit in normal society. Ai drops out to continue finding her path in life, first living with a rock-bottom delinquent family, then moving on to be part of a middle-class family, all along trying to find her place in this world. The only person who understands Ai is Ryota, another drop-out and cast-off from society. Ryota finds his path in a shady world of delinquents while Ai ends up working in the sex industry. Two teens’ purity gets swallowed up by the urban jungle of a big regional city. A black comedy depicting the lives of modern youth and their struggles in a place where there is no way out.
This is a film best to go into blind though even if you know the plot it still isn’t the easiest to explain.
The cast is mostly newcomers to the screen who come off expertly, but also excel in raw talent on screen and seem untrained. Even though Lead Actress Sairi Ito goes through it all on screen and deserves special Acclaim.
This is the third film by the writer/ director Eiji Uchida and I can definitely say that his films are original and you never know quite what to expect and that mystery makes the films exciting. Not to mention showing a bravery that has been missing from cinema In a while definitely not the most mainstream but so Indie and aiming more for a cult audience that it makes his films admirable no matter how controversial for some they might be.
As they focus on Characters more on the fringe of society and so far In Their own way has been films they are coming of age stories no matter what the ages of the characters
A film Mainly about the loneliness of youth so that they find camaraderie and family wherever they Can.Though as they try to support one another the film shows that the only way for them to grow and find their own paths is truly as individuals. They might meet someone who helps them align and who ultimately they end up with but first must go through many things alone
Throughout though many adults seem to mean well. As major influences they either screw up the kids more through actions, abandonment, or both. As we see even their peers sabotage them through jealousy
Some have compared this film to the epic film LOVE EXPOSURE by Director Sion Sono and it has that same kind of off-kilter feel that feels a bit fetishistic at times. That film had more than enough time to fulfill its story being 5 hours long (but truly never felt that long) not to mention that film was fully devoted to exploring fetishes and the characters who live that lifestyle. Here we get snippets of it.
Here though the stories stop for certain characters at times that feel like fragments you get the general idea, Throughout. In that other film, there is an innocence there the entire film tries to be a romance. Ultimately this one feels a bit more tawdry though with a love story
They are both coming-of-age stories though this one has its own rhythm that if you can get along with the best this film will be worthwhile if not it will just stay strange to you
The film is very composed, especially in its shots and bright colors. That almost makes the film feel illustrated at times.
It has a slightly diverse cast and nothing is ever said of their origins, though is clearly noticeable and a bit mysterious.
The film shows that Love can be like a cult as it is mainly two of you at the center but you must get to know and hang around each other’s friends and families even if you have nothing in common with them and become sort of the crew, a kind of second or third family. You take on Each other’s characteristics slowly and interests. How they Make sacrifices and little donations of time and money.
Written & Directed By: Ana Lily Amirpour Cinematography: Pawel Pogorzelski Editor: Taylor Levy
Cast: Kate Hudson, Jun Jong Seo, Craig Robinson, Ed Skrein, Jennifer Vo, Charlie Talbert
A girl with unusual powers escapes from a mental asylum and tries to make it on her own in New Orleans.
It feels like you are watching an MTV series in film form or at least an MTV production film that managed to make it to theaters. Trying to be a hodgepodge of culture and trends from the 1990s
Especially as the story seems more told in visuals and its soundtrack which is more of a club mix. That comes across like a video game soundtrack. Then the story or written dialogue.
As you watch the film it feels like we are traveling through a wonderland with the main character. Where we never know what is going to happen next. Now if only the story matched the vividness and richness of the visuals.
Kate Hudson is the true star here. As she is one of the people who take in the main character, eventually more to exploit her powers. The hustler that Hudson decides to play with a kind of street east coast accent. She is playing more of the gritty side of the film.
As the film almost feels a bit more built around her. As she is truly the anchor and the only character who has stakes in the whole film. Which itself feels like it has very few. Hudson has the showier tile and she puts in the work to be convincing. It seems like she belongs in a much harsher film or like she is visiting from one. Think LAST EXIT TO BROOKLYN.
Ed Skrien ends up playing the opposite. A character you expect to be trouble and gritty, but ends up being the most chill and helpful street guy. Who happens to deal drugs on occasion.
The film is not a thriller or even science fiction fantasy action film that you might expect with the premise. It’s, it’s own creature, an oddly original fairy tale for grown up’s. A mature storybook adventure through somewhat innocent eyes
The film is directed well, one just wishes the script was stronger. As the film seems to wander.
What is refreshing is that the film doesn’t go anywhere you expect it to considering how dark and exploitive the atmosphere it revels In. Which might be why it feels more like a fantasy.
The filmmaker feels like she tries too hard to make this film into an instant cult film instead of letting them be original and then age In
It all comes down to the end not judging a book by its Cover. As most of the characters appear to be what you think they will be they also offer another side that is I related to the look or fashions they cover themselves with
Directed By: Alain Robak Written By: Alain Robak and Serge Cukier Cinematography: Bernard Dechet Editor: Elizabeth Moulinier
Cast: Emmanuelle Escourrou, Christian Sinniger, Jean-Francois Gallotte, Roselyne Geslot, Francois Frapier, Thierry Le Portier
When a strange creature crawls into a woman’s uterus she becomes a killer in order to feed the tiny terror growing within her.
This is one of those movies that came from nowhere for fame. I had never previously heard of this film and decided to take a chance at it. While scrolling through Shudder.
This Is definitely a film made for horror fans. The theme of this film seems to be literally at first men’s horniness will be the death of them. Most don’t come off well throughout the film.
As the lead female played with total commitment and energy by Emmanuelle Escourrou. who gets infected by this parasite at first is reluctant to go through with what the parasite is forcing her to do. Working her way as a seductress to entice more victims. As she already had men all over her, even when not trying, though she was in an abusive relationship and the one man she wanted to have no interest.
The parasite in her uterus wants her to kill but not for blood or the remains. The film never seems to answer the reasons why. Just the act sets this film apart from similarly themed films in its wake like GRACE or PREVENGE.
As the parasite grows into a baby after sex and while psychically communicating and controls her more through pain and threats. So it’s almost like she is in an abusive relationship again.
The film presents the killings not from a need, not from a maternal instinct of trying to help her child survive. As it says it wants blood but we rarely see her take it.
The first half of the film is presented episodically like short stories of her next kill. While still on the run.
The film offers plenty of nudity and some sex, but it’s never quite erotic, exotic, or sexy. The filmmakers do have some artistic tendencies in the film, but it seems like with a Troma Studios-type budget. That ends up having the movie feel slightly exploitative.
The film at times feels quite silly, but it never lets loose to have fun with its wacky premise.
The film never goes where you expect. As once you believe you have it figured out. It goes another way.
Written & Directed By: Ken Russell Cinematography: Peter Suschitzky
Editor: Stuart Baird
Cast: Roger Daltrey, Paul Nicholas, Ringo Starr, Sara Kestelman, Rick Wakeman, Fiona Lewis, John Justin, Veronica Quilligan, Nell Campbell
Composer and pianist Franz Liszt attempts to overcome his hedonistic life-style while repeatedly being drawn back into it by the many women in his life and fellow composer Richard Wagner.
This is a movie it has taken me a while to finally watch and its legend has only grown over the years. It’s writer Director Ken Russell’s second collaboration with The Who singer Roger Daltrey as his star.
This is definitely a film of its time period a very experimental look at the composer Franz Liszt. A very hedonistic film and the character
The film sets the tone early as we are introduced to the character in the middle of a sexual seduction with a married woman. Whose encounter is interrupted by her husband and a sword fight happens meanwhile Liszt is mostly naked throughout.
After that we kind of fast forward into little vignettes of surreality that happen throughout the film. W see him perform to roaring crowds of teen girls who all cry and want to touch him as he plays. That is where we are introduced to many composers but mostly It’s Richard Wagner who will become important later in his life and this film.
Next, we see him in domesticity with his wife the woman from the opening scene. Here we see their life played out like a silent film homage to Charlie Chaplin and his leading ladies. Though we know the road and his hedonism will tear away from this seemingly love story bliss.
The early parts of the film play more like a traditional biofilm as far as pace and l learning about the character. Once he decides to become an abbey and therefore more religious while still maintaining His monstrous libido. The film takes a strange turn that allows for the return of Richard Wagner as a kind of vampire. Who decides to build his own Aryan Frankenstein
At that point, the film becomes more of a surreal fantasy film with history and politics thrown in. As with most Ken Russell films you never quite know what you are going to get, but it will be original and quite shocking. As he is a provocateur.
He made many biographical films about composers. This is one of the mroe outrageous ones. Where he tries to make it fun and a kind fi satire. Though can admit at the beginning it is kind of slow but as the film goes along he keeps building the scenes and sets. So that by the end you can’t help but watch in awe. He doesn’t always hit his targets, but he gets close often.
It’s hard to believe but at a certain point, the film becomes somewhat predictable for the most part. Though offers plenty of homages and allegories
The music throughout is actually Franz Liszt’s compositions only with added lyrics to make them mroe modern songs that express emotions. Which isn’t needed and doesn’t exactly work. As it is like trying to update masterpieces.
This film doesn’t reach the heights of TOMMY, maybe because this film is forced to stay within certain boundaries when it comes to facts. While it doesn’t seem to have as much Joy and deeper meaning as that film. This is quite a nice attempt at offering something different and artistic. Even with the melancholy sadness that the film Carries at times
Written & Directed By: Joshua Grannell Cinematography: Tom Richmond Editor: Rick LeCompte
Cast: Natasha Lyonne, Thomas Dekker, , Cassandra Peterson, Mink Stole, Noah Segan, Jack Donner, Kat Turner, Jade Ramsey, Nikita Ramsey
A mousy librarian inherits her father’s beloved but failing old movie house. In order to save the family business she discovers her inner serial killer – and a legion of rabid gore fans – when she starts turning out a series of grisly shorts. What her fans don’t realize yet is that the murders in the movies are all too real.
This film is campy as hell. It feels like a lost John Waters-inspired script.
As it plays homage to horror films of the past but never plays it relatively straight or dramatic each scene feels filled with comedy more than anything.
As the film is over the top as is its Star Natasha Lyonne who is truly one of the only reasons I watched this film. As I have been trying to see it since it first came out and only have had a chance to finally more recently. As she was THE IT girl of indie cinema at the time. This is truly a star-making role for her as she truly gets to go off the wall and fully inhabits the madness of her character and the silliness of the film.
As this paved the way for the type of roles and characters she would soon play after this. This is more of an introduction to those types, especially as a character who marches to the best of her own drummer.
You can Tell she is having a ball in the role. As it is truly a transformation. Her character starts off the film as meek and shy; throughout each kill, she gains confidence. Until she actually becomes a diva and star. Who gets more stylish and develops a different way of speaking. Like a classic movie star. She also gains a murderous entourage to help her with her kills and productions. Who seems scarier than she but they obey.
Noah Segal in particular is a hilarious scene stealer. As is a veteran actor Jack Donner. It’s also nice to see actress Cassandra Peterson in an actual character role that is not her infamous one of Elvira, mistress of the dark. Even though the film does throw in a joke about that.
You can never take this film or anything in it seriously. Though it is silly and stupid at times it stays fun throughout. If you are into this type of humor. Even the ending that involves poison has to go grotesque in an absurd way.
The deaths are inspired and gory. Most of the deaths happen to characters who are annoying or villains.
It might warm movie fans’ hearts to see that the filmed death scenes were made to be short films. Usually, they are like public service announcements of what not to do at movies to disturb the experience and the consequences of what you do.
Thigh the killers are portrayed as scary they are demented and you enjoy the film more when they are on screen. The scenes of the supposedly normal characters are much scarier. As they are completely off but considered normal or sane. As everybody In This film is somewhat off in some way
In the end, it just feels like a film of a different era. Yet very specific in its aim and intentions
Written & Directed By: Xander Robin Cinematography: Matt Clegg Editor: Xander Robin & Dustin Waldman
Cast: Chelsea Lopez, Michael Godere, Michael Patrick Nicholson, Charles Gould, Adeline Thery, Alice Frank, Dean Haletermann
After losing his job, girlfriend, and home in a single day, a desperate thirty-something accepts a delivery job in a remote upstate backwater. There he meets a beguiling and mysterious young woman with whom he shares a strange obsession.
This is one of those films that counts on you going in blind. As best to experience thought not sure if it is ultimately worth it.
The film at first feels quirky and becomes a junkie drama out of nowhere. As the film has a solid beginning then it seems to get lost throughout the rest of the film. Even when it tries to have a somewhat romantic narrative that is strange.
The film feels aimless and constantly not about anything except we keep following the leader wherever he goes and pretty soon we are grabbing at straws at any scene where it looks like a story could emerge. As we want to see where this is all going.
As the lead seems pretty simple and clueless most of the time.
The film eventually offers up enough to keep you interested, but then feels aimless and goes nowhere.
As we meet characters who seem normal but get bizarre as the film goes along and at times it just feels like the film is purposely forcing itself to be strange to try and entice the audience.
The filmmaking feels well done but ultimately feels confusing on purpose. At one point, the film and its Characters seem to be speaking their own language and the character’s actions make sense only to them.
As a Major point eventually, the characters start sporting hairlines similar to Anjelica Huston’s witch character in the movie THE WITCHES. Because of a shared hair obsession.
This ultimately feels like a student film Thesis with more resources.
Written & Directed By: Henri Safran Cinematography: Vincent Monton Editor: Don Saunders
Cast: Carol Kane, Tony Owen, Barry Otto, David Downer, Warren Mitchell, Sandy Gore, Virginia Hey, Myra De Groot, Louise Pajo
A teenage boy falls hopelessly in love with his new sister-in-law. When she gets pregnant, someone raises the question that he might be the father–a notion he does nothing to discourage.
This is one of those films I remember the poster and box art from video stores that I frequented as a youth. Not blockbusters, more the mom-and-pop independent ones.
Never got to see it as a kid when most interested and remembered but finally recently got to see it. I believe I would have had more patience for it when I was younger. As it basically plays like a young teen fantasy come to life of romancing an older woman who you have a crush on. Only here not only does the dream come true but so do the consequences of that action and they are not all that one would expect.
The main drawing power for this film is that Carol Kane is the star of the film. Which is rare In itself and the production takes place in Australia. Wished she had gotten more lead roles instead of this misfire. As she is a constantly appealing screen presence only misused and wasted in this film.
The film is supposed to be a comedy yet it’s never really funny and just not that good. Yet very 1980’s with a catchy main theme song. Not only is it in bad taste especially by today’s standards. It’s also very problematic.
A woman having an affair with her husband’s 12-year-old little brother is supposed to be romantic. You can understand the little brother’s actions but you question the woman is she a pedophile? starving for attention that she doesn’t get from her husband? sex crazed due to lack of sexual attention? or just in need to get pregnant. The film never answers that question and leaves the audience to answer a question they really don’t want to.
The film tries to be an ensemble film about a Jewish family but feels like it tries to invent drama where there isn’t in trying to frame it’s main plot. Worse of all it comes off dull.
Can see what the interest might have been at the time, a kind of taboo comedy that luckily doesn’t show but hints at a lot. Though it also makes you wonder who was the audience for this film overall.
As it’s not a teen movie, nor a sex comedy of T and A proportions. Nor is it exploitive, it at least tries to make the relationship look romantic.
The brother even suspects the wrong person of having an affair due to the infidelity of his business partner. This leads to confusion for his character and ends up being the most abused throughout for very little reason.
His father actually comes off as the most dramatic and sympathetic. In fact, throughout the film, the only character who seems to have a good head on their shoulders is the brother’s mistress.
The ending shows you the depth of young love and how quickly one can bounce their feelings to a new partner. As he seems to be a serial seducer with his innocence but now worldly ways. While it leaves her husband’s character in a kind of limbo
Jeanne, a shy young woman, works in an amusement park. Fascinated with carousels, she still lives at home with her mother. That’s when Jeanne meets Jumbo, the park’s new flagship attraction.
This film will remind some audiences in the know of Titane. As they have particular storylines that are similar but are in Totally different ways.
The French film, TITANE is dark and about more than necessarily meets the eye. Where it has things to say about many subjects. This film Is sweeter and has no pregnancies though it is a fairy tale based On reality and tries to keep matters at hand.
This film has a sweetness but doesn’t ignore its own implausibility. As it even has the character question her sanity. Though her own faith shows through. We in The audience begin to question as we see erratic behavior and every time there is something fantastical involving others we never see it as random there is a logical reason for it all.
The film doesn’t shy away from sex but it doesn’t make it feel tawdry it feels erotic but more out of innocence.
Even those close to her who doubt her and her sanity. We are left to wonder if they are doing it for their own self-interest and out of jealousy.
As the main character feels like a typical one you would find in a quirky romantic French film. She looks and dresses like a shy teenager even though she is a young woman in her 20’s.
The movie starts off innocent and as it goes along it gets more serious and into more issues and questions that are surprisingly asked. That is usually left out in films with scenarios such as these.
Noemie Merlant really shines in this film. She stays believable and strong even though her character can be weak at times and doesn’t speak up for herself. She seems to run away rather than confront. Though she gains our sympathy and soon finds ourselves rooting for her. As we watch from the beginning her character is a tomboy but wears such shapeless clothes we wonder if she is in arrested development. through it all even in various sex scenes. She still seems like an innocent more than anything.
Emmanuelle Bercot as her mother is also strong. As a hard-driven woman. She has had her heart broken quite a few times and wants to believe in love but finds herself defined by the company she keeps usually male. She wants the best for her daughter but that seems in the daughter more or less getting into a relationship and finding a man. As she tries to act more like her sister than her mother. She is tough to a certain degree but has a soft spot for her daughter that she rarely shows.
This is a film that might not always make sense but it does have a charm that is constantly on display and tries to always stay in reality. Even with its more fantastical elements.
Cut To The Chase 