Tag: THRILLER

DEATH ON THE BEACH (1991)

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Directed By: Enrique Gomez Vadillo

Written By: Enrique Gomez Vadillo and Carlos Valdemar

Cinematography: Santiago Navarrette

Editor: Carlos Puente

Cast: Sonia Infante, Andres Bonfiglio, Rodolfo De Anda, Antonio Eric, Humberto Lobato, Angela Alatriste, Martha Gema, Ileana Higueras 

The son of a wealthy businesswoman returns home from boarding school. His mother, always busy with business and with her ambitious lover, realizes that her son suffers from being a homosexual. Having killed a teacher who abused him, the trauma makes him keep killing.

This film was made in 1991 but watching it it feels older though it totally fits both the 1970s and 1990s as a way of creation as the film is at the heart, a thriller, but also a kind of LGBTQ plus romance of sorts. Definitely more of a cult film.

We are mildly sympathetic to the killer in this film, as it’s not a spoiler, but his character was raped by his teacher at a boarding school, and he secretly enjoyed it, which is how he found out that he was a homosexual, but also is repressed that he can’t readily admit it to his mother But is looking for someone to love and share his life with, but is so repressed that he kills those around him or also gay or threat to him

To try to fool the audience because the opening credits are of the lead female Sonia Infante swimming around her pool and staying in a state of toplessness until a man comes we find out is her soon-to-be husband and basically, they frolic together, and this opening scene and throughout the film that is shot like soft horn Haze

The stepfather seems like a Spanish right, Robert Mitchum. He looks and we don’t really know his deal because at first, it seems like he is a gold digger, but he seems like he does but also odds with the stepson, but the mother keeps trying to deny homosexuality Homosexuality is treated like some kind of disease or mental illness throughout this film. We’re having the main character be a serial killer of sorts doesn’t help.

It’s so hard to believe that the stepfather is the one who suspects him of it while also setting up a house fall who is meant for more things than he is presented with at the beginning 

In all of this, the sun finally finds a companion to confide in who has a girlfriend who I guess has always been straight most of his life but being a European he’s sexually the son is his friend and has treated him so well and this is his honeymoon to a certain extent or least bachelor party to get all his players and king out an intense romance between the two

The film has full frontal nudity of men and women, thing is that it represents a negative stereotype of homosexuals, but it also makes them the main character and gives representation at a time when it wasn’t really shown also the movie is a bee movie that is so ridiculous that you cannot believe The sun is getting away with all these murders, except for the fact that his mother is rich, but she even believes all of his excuses of all these deaths around ridiculous, especially when the murders are so blatant and done at the drop of a hat without any real thought or planning?

That is the beauty of the film is that it is such a bee movie and so ridiculously over the top, but for the most part, seriously it achieves the true beauty of being self-aware and not at the same time with questionable politics and motives that make the film, if not troubling at times And wondering how takes this film that it is obvious yet comic 

In the end, this is a fun yet bad film that has a ridiculous. The third act and ending despite it being bananas from the beginning Harkins back to a certain time no offer representation of good and bad. 

watching the film, you could tell that this was a bit homophobic and going into certain stereotypes while trying to have an open mind, though villainizing and having sympathy but also gives a backstory and understanding, even though throughout the film pretty much there is no set. Everything is said out of the open and no one seems to have, a sensor when it comes to their thoughts and saying them. it seems a vision of a homosexual story through a straight male gaze. 

Grade: C 

HIT LIST (1989)

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Directed By: William Lustig 

Story By: Audrey K. Rattan

Written By: John Goff and Peter Brosnan

Josh Becker & Scott Spiegel (Uncredited)

Editor: David Kern 

Cast: Jan-Michael Vincent, Leo Rossi, Charles Napier, Harold Sylvester, Jere Burns, Rip Torn, Lance Henriksen, Ken Lerner, Frank Pesce 

A family man and a mob witness hunt for a hitman who has mistakenly kidnapped the family man’s son.

This actually makes a very engaging thriller, though it’s a character actor Paradise, and while everybody is doing their best, the main weakness is the person, casting the lead Jan Michael Vincent, who doesn’t seem to put his all into it, though probably with his name and star Power is why the film got made or financed in the first place. 

Though the film has enough heavy hitters in the cast. Not to mention supposedly Mr. Vincent was behind several problems with the production. This might be why such heavy emphasis is more on supporting cast members.

The film has plenty of action and plays like an action thriller that you would see on the big screen you know it has not so healthy budget though I think if someone else had played the lead, it would be better remembered I’m not gonna say it would be a classic, but definitely better remembered 

Especially as one of the twists of the film is based on what one would think is a ridiculous mistake, but moves the film forward 

The other flaw of the film is that really out of Jan Michael Vincent’s Circle. the only good guy or good character who is killed is really his best friend in the African-American character. You know there are several cops in the beginning who are protecting witnesses who get killed but we rarely or barely get to know them whereas the character played by Harold Sylvester you know we get to know and care about and then he is dispatched

The rip TORN seems to have fun, showing a scenery and going over the top of his role as a mob boss, Leo Rossi adds real heart and is a memorable character to the film, as a kind of wise guy who most of the characters are after in the first place 

Same with Charles Napier he just seems to go with the flow and really seems to be enjoying himself throughout as more of the federal agent on the case

it’s cool to see Lance Henriksen as this maniacal unstoppable killer who has a day job as a cover and then towards the end seems that no matter how hard you try to kill him. He’s like a horror movie villain he just won’t die. It’s interesting and ridiculous he is though he’s the most interesting character in the movie as he is a killer character, who deserves a better film script than this

Especially his character is so devious and calculated, but it makes this one mistake that changes. Everything seems a little bit ridiculous 

this film is more on the side of a guilty pleasure as you can’t really take anything seriously but it is a fun film to watch. I believe you will have a good time with. Especially directed by director William Lustig, even though this is one of the few director-for-hire jobs that he took. 

Grade: C

EILEEN (2023)

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Directed By: William Oldroyd

Written By: Luke Goebel and Ottessa Moshfegh

Based on the novel by: Ottessa Moshfegh

Cinematography: Ari Wegner

Editor: Nick Emerson 

Cast: Thomasin McKenzie, Anne Hathaway, Shea Whigham, Siobhan Fallon Hogan, Marin Ireland, Sam Nivola, Owen Teague, Brendan Burke 

The stagnant waters of Eileen’s dull, stifled life as a solitary worker at a juvenile detention center in 1960s Boston, are unexpectedly disrupted when the institution brings in a new psychologist, the vibrant Rebecca. The fervent enthusiasm that blossoms between the two women almost immediately gives way to a closer relationship, until their fragile connection takes a dramatic turn.

The first act of the film seems to be drenched in character as we build up, not only the title character of Eileen, but her circumstances with obvious deep trauma and depression in her life, and what she has to deal with in her day-to-day until Anne Hathaway’s character comes into her life a blonde bombshell of the upper crust, upbringing, and beauty who takes an interest in her and kind of seduces her at first it seems like a friendship or maybe a mentor relationship but it seems the valves and something more and this is where the films first half is strongest clues as to what is to come But never dis PLAY them outright

Then, when the twist does it fits into the mood of the film, but it is such a left turn that it almost seems ridiculous that you’re questioning yourself. Is this one of Eileen’s fantasies that we have seen earlier, even though those usually involve more death or suicide, in their own way, it is all real. 

In the end, the film, like a wannabe noir that ends up as a drama, with a kind of ridiculous third act the third act could’ve been believable, but but the way it comes about just feels so silly 

Especially the first half of the film, so in tune and stylish, even if at times, Anne Hathaway’s character seems more like a caricature of Femme Fatale movies. She still comes off as believable in the end, even though her actions seem rather far-fetched. 

I will admit, I never read the original book so maybe it’s better explained there, but the way it’s put on screen there always seems to be attention and intention that is going to happen but the film always seems to fall short, or never reaches the peak that it presents 

The actors are all great, and Hathaway is memorable, as is Shea Whigham, who is believable as her mentally unbalanced and constantly drunk, who is a burden but seems in his own way, trying to educate the young Eileen 

I have to say, Thomasin McKenzie totally walks away with the film as she portrays this innocence and you see her falling you see her heartbroken you see her hopeful, but then also you can kind of see her more angry and vengeful side and she plays it so well, just through her facial reactions and physicality as it seems like she is truly being awakened, and the beast is out of its cage to a certain extent either that or in desperation for survival her instincts finally come alive and it’s truly a revelatory performance, not that from what I’ve seen so far she’s ever given a bad performance, but this one truly felt like a showcase for her and her talents finally.

I wish the suicidal ideation or fantasies off a little better throughout the film as it does enhance the character and maybe gives us a peak into her mentality, but for the film, I thought it would play off the scene where we think it’s a fantasy and then realize it’s reality or maybe You know in another universe or telling of the tail the whole act is a fantasy that she uses to finally take action even though when it’s own way it does though it’s not a fantasy it seems to be the push or the thing she needed to run and live her life

Even though her way of tidying things up, will still lead to her, needing to keep being on the run so to speak and Hathaway’s character, we are at a loss as to what becomes of her. 

As Hathaway and her character come in like a guest star and leave that way. Where we are left wondering so many things. 

The film tries in its own way it it tell a story and makes itself useful to a certain degree, but it just seems to fall short as the audience is because they were expecting something better, especially with how strongly the first half was presented in the film, seems to not take advantage of its strength that could’ve made the film a lot more memorable and stronger.

The film is well directed by not as sharply directed as one would expect from director William Oldroyd, who has captured passion, deceit, double crosses, and cold hearts in his previous movie LADY MACBETH. As this seems to lack a strong payoff to what has been building throughout. 

GRADE: B-

NEW ROSE HOTEL (1998)

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Directed By: Abel Ferrara

Written By: Abel Ferrara and Christi Zois

Based on a short story by William Gibson

Cinematography: Ken Kelsch 

Editor: Jim Mol and Anthony Redman

Cast: Willem Dafoe, Christopher Walken, Asia Argento, Annabella Sciorra, Victor Argo, Gretchen Mol, John Lurie 

In the not-too-distant future, two New York businessmen plot to play two multinational rival corporations against each other, with a little help from a shady Italian street woman, to obtain an important Japanese businessman for the company they work at, only things are not always as they appear.

Abel Ferrara is a talented writer and director who always seems to dip his toe into things that could be seen as shocking. It might be that is just his interest in the stories that he wants to tell. Nowadays he makes more personal, dramatic, artistic films, but for a time he seemed to be a provocateur when it came to cinema stories of the streets of New York, in particular, starting out with more horror films, then seemed to have a period where it was mostly crime related films.

He is a filmmaker of interest who is very unapologetic, though I will admit since his movie, BAD LIEUTINENT, and his one studio-made film a remake of INVASION OF THE BODY SNATCHERS, his films have been for me at least hit or miss. Unfortunately, it feels like they usually miss or fail to make a connection. Though he’s a filmmaker where you can always find something of interest in his films or his filmmaking.

I remember at the time being interested in this movie, more to see Asia Argento and I felt because she looked very enticing, and the story sounded somewhat interesting. Not to mention liked the cast of it mostly being her Willem Dafoe and Christopher Walken, even though at the time it seemed like Willem Dafoe and Christopher Walken were almost in everything so seeing them in yet another film wasn’t that enticing but with her as the added attraction. 

As I had only seen pictures of her and not really seen her in a movie, not to mention with Abel Ferrara directing, I knew it would be dark and troubling, but reading the synopsis of the story and plot it never quite gelled with me, especially from people who have seen it They just didn’t seem like it was worth going to movie theaters to check this movie out.

Watching it now. Almost 25 years later I’m kind of glad I didn’t see it in theaters. It’s not a bad movie, but I would’ve been greatly disappointed and it would’ve probably been more forgettable to me. I would’ve seen it as more experimental and artistic, so it would also show how the story could be told more on a limited budget, especially one that is set in the future and kind of cyberpunk. As after all, it is based on a short story by William Gibson. This might be why the film seems so rebellious and Avant Garde or striving to be different. 

The film has a lot of cutaways of digital video and photography that we come back to throughout the story.

There is a lot of eroticism and a few scenes of sex on display. One of the themes of this film seems to be fantasy and how much you let it take over especially as you know the truth but you want to believe.

It seems like the film is more about all these vipers being hustlers on their own, being brought together to take down a big fish, and slowly turning on each other, as at the center of it one makes the dangerous decision of not only trust, but love, especially with somebody who works as a professional seductress were acting is their professional, so you never know when they’re being genuinely Trust or telling you what you wanna hear to their own satisfaction

It seems like the camera is as captivated with Asia Argento as much as The characters are as it always seems to be exploring and exposing her allure, so while it doesn’t provide her an acting exercise where we see her day-to-day. this is a goddess movie. Where it seems the allure and the strength of the film is on the femme fatale and how the audience feels about her as a film and its own wife fetishizes her to a degree, making the film and the protagonist see her more as a goddess.

There is Something about Asia Argento, her films, and her career. I’ve always been kind of in awe, but she rarely got a chance to shine or have that career-defining performance. It was more she was in hit movies, but you don’t, in particular, remember her performances or character, because you could point out movies like LAND OF THE DEAD or MARIE ANTOINETTE or XXX, yes she was in those films as a cast member, but none of her performances stand out.

Even when she directed her own films such as an adaptation of the book THE HEART IS DECEITFUL ABOVE ALL THINGS. which were more controversial and shocking, she made a little impact, but never long-lasting unfortunately, as they were artistic, but seemed more poised to shock. so I always look at her career as a kind of example of promises made, but never quite capitalizing on all the talk, hype, or Fame. there might’ve been more personal reasons as to why her career stalled at a certain point, but I still find her talented, beautiful, and stunning and half the time when I watch some of her movies. It was just to see her in it And she looked sensational and in most of them captivating. 

It’s also interesting that the film has great actress Gretchen Mol featured in a small but important role throughout as at the time she was also considered an ingenue in the acting world, the next big thing or flavor of the month at the time, though she is displayed for less in this film.

The film comes across as a futuristic tale that had an idea that was original but did not have the budget for the ambitions of the script so it feels like the third act is made to put the story of what actually happens or happens from scenes we’ve seen earlier as flashbacks or memories to explain it all.

It’s an interestingly constructed film with a good soundtrack. that uses a lot of it looks to be handheld video and a bunch of scenes, or at least the beginning of digital video being used and more professional films.

Offering a third-act explanation of everything by pointing out what was evident in playing sight from before now that might be because I just didn’t have enough money to finish and film. Actually, it is very creative but can be seen as frustrating to someone in the audience who is traditional filmmaking or is used to having, their hands held to end to the end

Does it have an ending? Strangely it feels somewhat unfinished. This would be a film that definitely could stand the case of being remade.

A bit disappointing but creative. Its artistic flourishes seem born out of not having the budget that was expected and making the best out of the situation. Though definitely a film where the camera is in love with Asia Argento. As much as the main character.  As it spotlights her almost fetishistically. 

Grade: C

A QUIET PLACE TO KILL (Aka PARANOIA) (1970)

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Directed By: Umberto Lenzi

Written By: Marcello Coscia, Rafael Romero Merchant, Bruno Di Geronimo and Marie Claire Solleville

Story By: Marcello Coscia and Rafael Romero Merchant 

Cinematography: Gugliemo Mancori

Editor: Enzo Alabiso and Antonio Ramirez 

Cast: Carroll Baker, Jean Sorel, Luis Davila, Alberto Dalbres, Marina Coffa, Anna Proclemer, Liz Halvorsen

A troubled race-car driver plots to kill her ex-husband at the behest of his new wife, but their scheme quickly goes awry.

Made in 1970 you can forgive it for feeling like a Tales from the Crypt episode, which it might’ve inspired. While watching, you might even see its influences as you see where it’s going.

This film is a Giallo that isn’t as sensationalistic as it feels. Typically, there isn’t anything quite special or eye-catching about it, except for maybe the third act.

This offers a twist to the tale that does feel more like a newer story or more of a p pulp novel, ask a noir in the daytime a more plot twist in a European thriller, driven by sex and lust. It could almost be a film built on the erotic. Even though the film ends up being more about seduction than sex. 

While there is nudity the film never is quite as sexy as it should be 

The film tries to be extravagant, (as after all the female main character is a race car driver) yet offers a few thrills along the way as it focuses more on the tenor of committing a crime, but being afraid of getting caught afterward, while in the clear so that you might, or your accomplice might be your own worst enemy, even though during this film, Nicole bricks at and look continuously guilty

One of a series of films directed by Umberto Lenzi and starring Carol Baker that seems like in story and quality. They are more basic examples of the Diallo film genre that tend to be more sensationalistic in their approach, and more stylish than this one ultimately ends up

This film isn’t bad, but not necessarily essential watching as it is just entertaining enough

Grade: C+

DOBERMANN (1997)

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Directed By: Jan Kounen

Written By: Joel Houssin

Cinematography: Michael Amathieu

Editor: Benedict Brunet and Eric Carlier

Cast: Vincent Cassel, Monica Bellucci, Tcheky Karyo, Romain Duris, Antoine Basler, Dominique Bettenfeld, Francois Levental, Ivan Marat-Barboft, Pascal Demolon, Marc Duret, 

The charismatic criminal Dobermann, who got his first gun when he was christened, leads a gang of brutal robbers. After a complex and brutal bank robbery, they are being hunted by the Paris police. The hunt is led by the sadistic cop Christini, who only has one goal: to catch Dobermann at any cost.

This film is definitely a byproduct of the 1990’s. It had plenty of energy and played like a hyper-Tarantino crime tale with way more action. That seems like it retains a villain more over the top than the anti-heroes.

Actually, it plays more for an audience who loves Writer-Director Quentin Tarantino’s films that take too long and are too slow to get to the action. Even though this film builds over its running time to a big climax filled with tension. 

The film feels like it is on drugs at the speed it goes through and lacks certain details. It feels cruel in a sense yet tries to be fun In other ways.

Tchkey Karyo is way over the top and means just to be. Think Gary Oldman in THE PROFESSIONAL, but miles past him in strangeness and chewing scenery.

Though that is the main problem of the movie is that there seems to be a lack of motivation or explanation for most of the characters or much of the action. Half the time it seems random or as a result of an extension of a character.

As it is based on a graphic novel, maybe it is better explained in the source material. As here it seems to be a greatest hits quality. That plays exactly like a comic book in feel and texture. Even though the supporting characters are quirky and have their defects. They carry the film over more. As the leads seem there more to look cool.

While it’s nice to see Vincent Cassel and then wife Monica Belluci together and in love on screen. Even Belluci seems to do more acting than Cassel here as he seems more to be the lead and there to look cool and be a mastermind over all else.

 it feels like a down-and-dirty popcorn movie. That would have gone even further in popularity if it had a better soundtrack. 

It’s a film that is a nice try as it is stylish all over the place, but once you get over it. There isn’t much there except to wonder. If the director had better material would this be much better? 

Grade: C

TAXI HUNTER (1993)

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Directed By: Herman Yau

Written By: Wing-Kin Lau and Kai-Chung Mak

Cinematography: Puccini Yu

Editor: Wing-Ming Wong

Cast: Anthony Chau-Sang Wong, Rongguang Yu, Man-Tat Ng, Athena Chu, Hoi-Shan Lai, Fai-Hung Chan 

Mild-mannered businessman Anthony Wong’s life is shattered when his pregnant wife is run over by a busy taxi driver. This and another incident with a sleazy cab driver caused Wong to go on a mission to kill bad taxi drivers.

This is a fun movie despite the storyline of it being a revenge/vigilante movie. As it keeps changing tone throughout 

One minute it is a comedy, then it seems like a satire then it goes for a more dark and violent route. But that you really take any of it too seriously. 

The film starts out with begat looks to be a comedic scene then it becomes an over-the-top action sequence.

One of the supporting characters is a police detective who constantly does dumb things but rarely has a good idea and dresses like a teenager of the time. Though he is a middle-aged adult. 

The other supporting character is a super cool cliche who always wants to get in on the action. No matter how dangerous it is. Our lead is more of a nerd who is polite and pushed to the edge but seems to stay that way throughout the killings that politeness.

Even as most of the taxi drivers throughout the film are mean-spirited and vicious. So it makes it easy to hate them. At least most of the ones he comes across and attacks. There is at least one nice one throughout. So it does offer some hope and not a total stereotype.

The film is a strange hybrid that makes the film more fun than it has any right to be. The action happens so fast. 

The film is wacky, yet never feels too ridiculous or over the top. It manages to stay grounded even under the silliest circumstances.

Definitely a fun watch. 

Grade: B 

SUITABLE FLESH (2023)

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Directed By: Joe Lynch 

Written By: Dennis Paoli 

Based On The Short Story “The Thing On The Doorstep” By H.P. Lovecraft 

Cinematography: David Matthews 

Editor: Jack N. Gracie 

Cast: Heather Graham, Jonathan Schaech, Barbara Crampton, Bruce Davison, Judah Lewis 

A psychiatrist becomes obsessed with one of her young patients, who she later discovers is linked to an ancient curse.

This film has that 1990s straight-to-video feel. That felt like Russian roulette between what the poster and back art promised and what you actually got. You tried to look on the back of the video for pictures from the film to hedge your bets and guide your decision before you took it home crossed your fingers and hoped for the best.

It feels like setting that error too just going by the cell phones used throughout the film. 

What you get is an erotic thriller that has all the elements and the score of one that works as a horror, or thriller with a sense of humor about itself. That has loads of sex though isn’t particularly sexy even though lead Heather Graham usually is. You can also tell she is having fun in the role and fully letting loose.

As here she is sexy in offers glimpses of nudity, but never quite full, but it is in full control of her own sexuality throughout.

The film is filled with practical effects, and Gore that are impressive, even if the red when it comes to the blood is not quite right. so it feels like a Hammer or Giallo film where the blood never quite feels real, which also helps to make the film feel exactly like it is more of a fantasy rather than any kind of reality

Watching it with its fast paste, nutty and horny humor. It kept reminding me of the television show Chucky maybe as they both seem to be over the top and dark-humored and seem to pack themselves on the back for humor, which some might see as wrong. Who would be the totally wrong audience for this film? This one seems to revel in trouble.

Hate to reference another thing, but this also feels like a tale from the Crypt episode and long luckily, one of the good ones. Not as over-the-top as I was expecting. It still is quite the wild ride.

Throughout the film, there’s obviously a threat that literally will not die but as you watch the film, you’re not necessarily worried you’re kind of rooting for both sides in their own way as you just want this story to keep going into see where it’s gonna go.

Watching the film you do they have saved themselves of trouble by just cutting off the tongue of the villain which would’ve made things a lot more easier I believe but then again, there’d be no fail either and that would be a shame.

This is a film for those who, like to take risks with what they watch never quite knowing what they’re going to get but now it’s going to be something different in a bit down and dirty.

As though the film surroundings always try to look glitzy and high-end at heart is the trashy little film.

Grade: B- 

MEDUSA (2021)

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Written & Directed By: Anita Rocha De Silveira

Cinematography: Joao Atala

Editor: Marilia Moraes

Cast: Mari Oliveira, Lara Tremouroux, Joana Medeiros, Felipe Frazao, Bruna G, Bruna Linzmeyer, Thiago Fragoso, Joao Vithor Oliveira 

In order to resist temptation, Mariana and her girlfriends try their best to control everything and everyone around them. However, the day will come when the urge to scream will be stronger than it ever has been.

A futuristic film more in politics than actual science fiction. Set in a dystopian future in Brazil that seems pretty normal except for its extreme religious culture  The film shows the misogynistic nature of organized religious politics, and even vigilantism  trying to show that the freedoms we condemn actually can liberate us, and our more for the people than anything else

The beauty who is our lead after she gets scarred in retaliation from one of her victims in the attack it is the first time that she has been treated as less than and it’s quite eye-opening as then she learns sympathy as she becomes sympathetic, and her eyes are open to the injustices of the world.

Her beliefs unravel, as do her body and nature. Where she becomes a of rebellion. That begins to affect those around her in similar situations.

This then makes her separate from her vigilante group but also leads her to want to liberate more people, and slowly she is infecting her core group with thoughts and compassion, which seem to go against the heart of their faith and actions

As we wander throughout, is it a spiritual, awakening, or are more and more of the vigilante females getting possessed. 

The film offers an original voice and cinematic universe in a genre, offering that is a critique of the patriarchy and fascism

It does offer now lustrous world, so it never quite feels futuristic just a bit off or different and more puritanical. No, the film becomes more symbolic than exactly offering a point.

It’s stylistic and sensationalistic though for all this heavy substance, the film comes off a little too heavy-handed, and there is no sense of enjoyment. The film looks great, but beyond that, it never feels as strong or wonder us in meaning as it seems to struggle to show.

No, for a film that is about feminism it shows a lot of violence against them, which I guess is all a part of their age and the rage that is against them, and trying to keep them in their place. It bites off more than it can actually chew 

It also has a great soundtrack that can be mesmerizing and matches the camera work and rhythm of the scenes.

Grade: C+

THE STRAYS (2023)

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Written & Directed By: Nathaniel Martello-White

Cinematography: Adam Scarth 

Editor: Mark Towns 

Cast: Ashley Madekwe, Bukky Bakray, Maria Almeida, Jordan Myrie, Samuel Small, Justin Salinger

Neve lives an idyllic life in the suburbs with her loving family and works a fulfilling job at a private school. But when she begins to notice a strange man and woman appear unexpectedly at odd moments, she starts to doubt her sanity. Of course, she turns to her family and friends for assistance, but she is helpless when they hesitate to believe her.

The film is about colorism and by the end you think it is going to say something heavy and important about race, but more just hints around about it. 

Only one wishes the film had dug deeper as it seems like a good setup but ends up a kind of shell game. 

All the performances are spot on especially the lead played by Ashley Madekwe.

The violence in the movie seems there only for the mood of the film to make sense and show possibilities. As to what the characters are capable of.

The film offers so much potential, that it’s not shocking that the writer/director Nathaniel Martello-White is a playwright. At Its heart, it feels stage theatrical. Which is why it never quite feels realistic. It feels produced manufactured or pretty much a setup to entice.

This film manages to keep you interested, even on the edge of your seat throughout. As it builds and brings things to a boil and cops out at the end like the filmmakers gave up or couldn’t think of anything good after painting themselves into a corner. Where it kind of loses the audience. 

By the end, the film offers the main character a realistic reaction that is still shocking but also is just part of her nature. 

The film feels inspired by Jordan Peele’s films US and GET OUT. This could have been part of the series THEM on HULU 

In the end, the film is thought-provoking. That wants to be a well-thought-out thriller but also has something to say. While being a character study. Unfortunately, the end feels like a cop-out and almost comedic in its own way, 

GRADE: C+