Tag: Pawel Pogorzelski

THE WOMAN IN THE YARD (2025)

~ jbg ~ Leave a comment

Directed by: Jaume Collet-Serra  

Written By: Sam Stefanak 

Cinematography: Pawel Pogorzelski 

Editor: Timothy Alverson and Krisztian Majdik 

Cast: Danielle Deadwyler, Okwui Okpokeasili, Peyton Jackson, Estella Kahiha, Russell Hornsby 

A mysterious woman repeatedly appears in a family’s front yard, often delivering chilling warnings and unsettling messages, leaving them to question her identity, motives and the potential danger she might pose.

————————————————————————

Didn’t necessarily have the highest of hopes for this film Going in. 

An african American cast in a horror film that ultimately is bleak and all about trauma. 

That feels like it would be a good starter horror film for those not accustomed to horror films. Even though it’s More a haunting or haunted story then out and out full horror with plenty of jump scares and the like. That ultimately ends up becoming more of a drama 

It feels more like a family drama that has horror or a l supernatural elements that makes it feel a bit like folklore that fits better into that form Of multilayered storytelling.

The reason it feels more like it would be for families is that it seems to follow a trend lately where African American starring horror films involve children more and more (THE BLACK GIRL AND HER  MONSTER practically spells it out. NEVER LET GO  with Halle Berry 

Jaume Collet-Serra (ORPHAN) knows how to direct and make a movie. Not always the most deepest of storytellers. This seems like the richest material he has worked with. Even as he seems to go for mood. His filmmaking goes for flashy and visuals. Though here he tries drama a bit more and the actors are up for it. Especially the versatile lead Danielle Deadwyler 

The woman played by Okwui Okpokeasili is an interesting original she moves in the shadows and becomes more scary the more we see her physically after making more of a mysterious impression in her introduction. When she moves she only moves in the shadows.

the cinematography by Pawel Pogorzelski does show It’s well shot and offers a claustrophobic mood and environment. as it uses a si gel location that it milks for all it’s worth though makes it feel bigger even in its limited environment.

Danielle Deadwyler hit it out of the park as usual with her performance. 

The negative aspects of this film grief, depression, guilt and suicide idealization. Seems to only become available in stories of family trauma and the only time it seems that African American or people of color at times really get to show any range when it comes to acting roles that allow them to be three dimensional characters 

The ending leaves it up to the audience to interpret whether you want to see it as a positive happy ending or a negative one that fulfills what it has been leading up to. In other words it won’t spell it out for you. Whether that is a cop out or artistic choice will depend on your enjoyment of the film. 

Can’t say it’s all that original. Though it makes the most with as little as it might have. Though was hoping it was better then how it looked in the trailers. 

Not the most exciting Film but entertaining enough and under 90 minutes. Only wish it had more to it overall. As it needs the running time to flesh out the whole tale. Yet it feels more like a short story. 

In the end it becomes more of a psychological thriller. With metaphors of guilt, suppression and your pain becoming more of a figure to haunt and torture you. So that it’s a little deeper then it presents itself as.  

Even the ending isn’t cut and dry and leaves you to make your own decision as to what happened and how you see it. 

Grade: C

BEAU IS AFRAID (2023)

~ jbg ~ Leave a comment

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. 

Grade: B-

MONA LISA AND THE BLOOD MOON (2021)

~ jbg ~ Leave a comment

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 

Grade: C

FALSE POSITIVE (2021)

~ jbg ~ Leave a comment

Directed By: John Lee
Written By: John Lee & Ilana Glazer 
Story By: John Lee & Alissa Nutting 
Cinematography: Pawel Pogorzelski
Editor: Jon Philpot 

Cast: Ilana Glazer, Justin Theroux, Pierce Brosnan, Gretchen Mol, Sophia Bush, Josh Hamilton, Sabina Godecki, Zainab Juh 

As if getting pregnant weren’t complicated enough, Lucy sets out to uncover the unsettling truth about her fertility doctor.

There seemed to be a trend in cinema. Where a film labels itself a horror and tries to sell itself as one but, in reality, it is more a drama with thriller elements that might get violent. So it labels itself something else. 

Whereas once you watch it, it feels like it is selling the audience false goods hoping they will come around, but the films are never quite crafty enough to win the audience over.

Especially when a film is familiar with the story. This one Might be seen as a more modern rethinking of ROSEMARY’S BABY though with a different kind of theme and ending but similar enough. luckily this film carved out enough of its own identity to stand on its own two feet.

The film keeps the audience at arm’s length and feels more clinical throughout, but then wants us to feel and identify with a character we never really got close enough to or learned enough about other than the basics.

The film Also instead of keeping us guessing. Give up answers way too soon. As it tries to keep us guessing still but is more middle ground once it offers up reveals. That in its Own way cheats itself but is understandable that it doesn’t want to copy and paste the whole is it real? Is it all in her head? Cliche 

This is one of those films that was so close to making it through with its Premise but falls short as it nears the finish line. As it gets more interesting the more outrageous it gets. A small before feels safe though at least it feels like it has some things to say 

The film has the bones of a sturdy and good movie but the follow-through unfortunately isn’t as strong. No matter how assured it believes itself to be.

The most memorable character ends up being the nurse played by Gretchen Mol. Who is in the film just enough to intrigue and make you uncomfortable but also the more you learn and see her the more you want to know about her

Creepy but tries to set itself apart from what inspires it by trying to tie in modern issues but leaves them by the wayside when it comes to its third act and explanation though in that sale act then tries to become surreal.

One interesting aspect is brought up as well as the ever-annoying line and blame of mommy brain

This feels like a film where the filmmakers wanted to say something to go along with their thriller. Which works but also feels a bit out of place or too on the nose. It also takes itself seriously while seeming to be entranced with itself that it forgets the audience. As it comes off as smug

Grade: D

MIDSOMMAR (2019)

~ jbg ~ Leave a comment

midsommar1

Written & Directed By: Ari Aster
Cinematography By: Pawel Pogorzelski
Editor: Lucian Johntson 


Cast: Florence Pugh, Jack Reynor, Will Poulter, William Jackson Harper, Vilhelm Blomgren, Ellora Torchia 

Dani and Christian are a young American couple with a relationship on the brink of falling apart. But after a family tragedy keeps them together, a grieving Dani invites herself to join Christian and his friends on a trip to a once-in-a-lifetime midsummer festival in a remote Swedish village. What begins as a carefree summer holiday in a land of eternal sunlight takes a sinister turn when the insular villagers invite their guests to partake in festivities that render the pastoral paradise increasingly unnerving and viscerally disturbing.

Continue reading “MIDSOMMAR (2019)” →