Tag: THRILLER

JEFF OF THE CINEFILES & UNFINISHED BUSINESS: HALL OF FAME – FILE #0075: THE FAN (*DER FAN) (1982)

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Written & Directed By: Eckhart Schmidt 

Cinematography: Bernd Heini

Editor: Patricia Rommel and Raoul Sternberg 

Cast: Desiree Nosbusch, Bodo Staiger, Simone Brahmann, Jonas Vischer, Helga Tolle, Klaus Munster, Ian Moorse, Wilfried Blasberg 

The hero-worship that Simone has for a pop singer is built to a crescendo until she passes out when she finally sees him up-close in a crowd of fans pushing him for autographs. She is later shocked when he lets her know that he does not love her. In an instant, she is caught “in a trance” and feels a murderous urge that is bigger than the both of them.

This review is spoiler-heavy. it’s advisable to watch the film first as this is more a discussion than a review.

This is a film one has waited quite some time to find and finally watch. It’s a film that it heard about over the years and looked forward to then saw a very, simply not as some cinematic lost Grail.

It’s a nice switch from the usual fan films where it’s usually a male stalking a female or stalking another male making it more homoerotic for the ladder, but in the former and obsession that they try to turn erotic or romantic.

A story that works like a mixtape has a different cut or see as time goes by. It’s also set at a time place and culture around a music scene that was modern at the time and very specific. 

This film deals with the same only from a female fan stalking a male rockstar. The girl is a teenager, and by far is the more gruesome of any star obsession film, as this is more a psychological drama rather than an action thriller.  

It can also be seen at first as a coming of age story that Can be seen as a rite of passage a crush on a superstar that gets to be an obsession as a fan for a teenage girl.

It also dives more into the psychology of the obsession as since it’s an underage girl it is mostly thought that it’s puberty and emotions taking over but soon realizes that it’s nothing more than a crush and that it should be rather harmless this film and the character takes it more to an extreme.

The film shows the depth of fandom, but also obsession. Believing that she is the only one who knows and understands him and that all the others are just there more for the money and Fame.

The film is more psychological than physical love it or hate it. It’s a conversation starter. 

The main character doesn’t speak much, except in her letters to the star and in monologues. Desiree Nosbusch Gives an unforgettable performance as Simone.

The audience witnesses how unstable she is to a degree in her day-to-day life as her obsession takes over all of her thoughts and actions and she cares little about anything else.

The audience suspects where it will mostly go or what will happen as the film takes its time with the situation, especially once she finally gets to meet him.

We watch as she runs away into Wonderland and finds a monster of sorts and sheep’s clothing that she believes to be her prince.

We watch as she somehow Wills her fantasy to come true with interest, and then practically the unraveling of what she sees as a romance, and what he sees as a hook-up.

Which is like an artistic love scene presenting themselves to one another before it seems to take a turn, and after he gets what he wants and is ready to throw her away or dispose of her. It is in close-up as we are now in her fantasy or viewing it through that lens once the camera pulls back after we are brought into reality just as she is.

We know something will happen, but can’t predict how severe, especially without the innocent and clean or at least non-exploit of the movie has been up to this point. It’s had its rough edges, but it’s practically been more passive, which makes it all the more upsetting.

This is not the type of film where you are waiting for a demise or where the film gets you excited or expecting any sort of violence. The film seems a bit off at first, then gets disturbing and gruesome.

The film even early on makes a point of presenting Hand-holding as a sign of who cares and who doesn’t.

Nothing that happens seems to be premeditated. Some could argue. The actions are to happen in the heat of the moment or being so young and emotionally out of control. 

It seems to go way too far though we might understand her initial act, becomes a mix of saving herself, but also still having a sick obsession and sickness with this rockstar.

The film is not as violent or as expected, though it might be the cut I viewed.

There is only one part that is not that believable as it is too clean and too fast, which is devouring him a bit cannibalizing him or at least pieces of him or at least the essence of him as a goodbye or farewell. That’s where it goes overboard but smart and getting away with fashion. Even though that is probably one of the more memorable parts of the film.

She doesn’t seem to learn her lesson as she is still delusional by the end and blocking out her act and now might be delivering his child who she believes will be reborn.

The film also has long drawn shots, but little dialogue, a synth-pop score that gets into your head. that goes well with the action and ending as once you step away from this film it is certainly one that you won’t forget easily.

The film does seem to have 3 acts 

Act 1 – Introduction/desire 

Act 2 – meet & greet romance 

Act 3 – the aftermath 

Grade: B

HERETIC (2024)

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Written & Directed By: Scott Beck & Bryan Woods 

Cinematography: Chung-Hoon Chung

Editor: Justin Li 

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

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

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

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

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

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

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

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

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

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

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

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

Grade: B 

THE WATCHERS (2024)

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Written & Directed By: Ishana Shyamalan 

Based On the Novel By: A.M. Shine 

Cinematography: Eli Arenson 

Editor: Job Ter Burg 

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

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

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

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

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

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

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

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

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

Grade: D 

IMMACULATE (2024)

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Directed By: Michael Mohan

Written By: Andrew Lobel 

Cinematography: Elisha Christian 

Editor: Christian Masini 

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

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

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

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

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

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

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

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

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

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

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

Grade: C+

HOW TO BLOW UP A PIPELINE (2023)

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Directed By: Daniel Goldhaber 

Written By: Daniel Goldhaber, Ariela Barer and Jordan Sjol

Based On The Book By: Andreas Malm

Cinematography: Tehillah De Castro

Editor: Daniel Garber 

Cast Sasha Lane, Ariela Barer, Forrest Goodluck, Jayme Lawson, Marcus Scribner, Kristine Froseth, Lukas Gage, Jake Weary, Irene Bedard 

A crew of environmental activists plot a daring plan to disrupt an oil pipeline.

This is an interesting little thriller. As it starts off so anonymously. Then turns into an ecological heist movie. It lives up to its title but the strength is in the storytelling 

We see how the plan is all coming together and what everyone’s duties and responsibilities are.

Meanwhile, we get glimpses into the characters’ reasons origins, and what brought them here.

Only in pivotal moments of the storyline. This also shows how the group all came together in the first place. As characters sometimes overlap in these moments.

The film provides plenty of drama, but also plenty of twists, turns, and double-crosses. Even when you think you know what’s going to happen, the film throws either a monkey wrench or what you think will happen but in a different way that you weren’t expecting.

The film is loosely based on the book of the same name which talks about the dilemma and the history of the problem. it is more dramatized and focused on this group of characters and their individual reasons as to why they came together to do this.

The ensemble works as each one is definitely passionate and works well with one another and you are on the edge of your seat plenty of times as this plan goes into effect. Even the aftermath is fascinating. As there is more to tell even during the credits as to the character’s fates. There is still the question was it all worth it?

This film is definitely worth watching even if you’re not necessarily into the politics of the character it works as a heist, film, and as a thriller and a film that examines the issues they are protesting against. Wow, the film provides plenty of suspense.

The film does feel like you are a fly on the wall, including your access to the information as a lot of times the film feels shot on the fly and feels as organic do it yourself and homemade the characters in their plan are. 

Oh, the MVP of the film  is Ariela Barer as she is the producer, writer, and one of the stars of the film. The film is an ensemble actor and character gets their moments to shine.

Grace: B

HOUSE OF SPOILS (2024)

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Written & Directed: Bridget Savage Cole and Danielle Krudy

Cinematography: Eric Lin

Editor: Marcus Vives 

Cast: Ariana DeBose, Barbie Ferreira, Arian Moayed, Martin Csokas, Mikel Brett Silset, Amara Karen

It tells the story of a chef who opens her first restaurant where she battles kitchen chaos, a dubious investor, and self-doubt, but the pressure heats up thanks to the spirit of the estate’s previous owner who threatens to sabotage her.

This is a film that never seems to get started. As it builds up to a certain degree of what’s the worst that could happen. Which adds a certain comedic paranoia. Though it feels like it drops the ball.

As it seems to take It’s Time to get the audience excited and ready, by the end it gets to its conclusion it feels like much ado about nothing. Making. It feels like most of the movie was a tease with an unsatisfying ending.

It might have been better as a short or an episode of an anthology. So it could get to the point. At least have a stronger ending.

As for the need, it feels more like a film that tries to tie in feminism and witchcraft. Where recipes seem to be the spells and an offering. 

It never feels like a thriller or horror. Though it has elements of each. In the end, it feels more like a drama. That tries to have some mood of THE BEAR mixed in with what might be some supernatural elements. 

The one strong thing about this film is the lead role played by Oscar Winner Ariana DeBose. One only wishes the film and script could be as strong as she is throughout. 

Grade: D 

LOWLIFES (2024)

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Directed By: Tesh Guttikonda and Mitch Oliver

Written By: Al Kaplan

Cinematography: Matt Young 

Editor: Jason Hamill

Cast: Matthew MacCaull, Amanda Fix, Brenda Llewellyn, Cassandra Sawtell, Richard Harmon, Elyse Levesque, Josh Zaharia, Kevin McNulty 

The survival instincts of a road-tripping family are put to the test when they have no other choice but to stay the night at a remote homestead.

This is a film that is definitely better. If you don’t know much about it before you watch it even though the poster makes it look like a run-of-the-mill horror film. Hopefully, you are reading this after the film, As there are minor spoilers.

This film offers the typical violence thrills and scares, but it also offers up quite a few twists that are quite original and fun that keep the film entertaining.

Though the film might reveal its hand early. It seems necessary to heighten the situation that the characters find themselves in.

Most of the most creepy characters in this film, or actually the most innocent, and those that seem the most innocent tend to be the most disturbed ones.

This is a single horror film for the most part, so it maintains its ground and stays on the ground, which works for this tale. All the actors are spot-on in their performances.

This film deserves more of a theatrical release or to be part of the BLUMHOUSE productions. The film gives more to the audience and shows respect for them rather than being easily formulaic and providing cheap thrills. just as this is more entertaining than any of the American horror stories by Ryan Murphy

Surprisingly, this film is more solid than expected. It shows what can be done with imagination and a low budget. it offers a lot with what little it makes you believe it has. It even has a pro-LGBTQ+ romance in it. 

Grade: C+

THE PASSENGER (2023)

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Directed By: Carter Smith 

Written By: Jack Stanley 

Cinematography: Lyn Moncrief 

Editor: Eric Nagy

Cast: Kyle Gallner, Johnny Berchtold, Liza Weil, Kanesha Washington, Sue Rock, Lupe Len, Mariah Benoit, Brooks Anne Hayes 

A man is forced to face his fears and confront his troubled past. He must find a way to survive when his co-worker snaps and goes on a violent killing spree.

This film passed any expectations that I had going in as it seemed like it was going to be pretty much a crime spree movie that might have gotten off on its violence.

Instead, we get a film that is not a deep character study, but a character study nonetheless where the two leads and part of the cast of characters are all dealing with past trauma that they seem to have dealt with, but didn’t necessarily get past and the different ways in which they’re dealing with it.

While the whole cast rises to the occasion, as usual, I have the shout-out actor, Kyle Gallner who is the character actor who I have seen in many different films, and recently has been playing more leads, and he seems to always rise above or Fitz right in and more makes the movie his.

The film starts off with what looks to be mundane before a shocking act of violence gets you out of that mindset And keeps you on edge throughout. You truly never quite know what’s going to happen next, as we are taken along with the psychopath and the boy he takes hostage and a sort of accomplice, determined to understand and cure him.

Along the way we did into both of their pasts one is clear, the other not quite, but leaves us to figure it out and doesn’t spell it out yet we believe we know.

Separates this from other criminals on the run films in that the lead character the psychopath isn’t stupid but while at first he seems like he has a plan and knows what he’s doing along the way the film does it make him necessarily a hero, or a stand-in for any certain subject or new story he’s a human being, a person dealing with rage And just as most of us acting like he has an altogether but underneath he’s just going through the motions and trying to do what seems right to survive.

The film actually, while being violent isn’t as violent as it would make you believe it’s more psychological than physical, and is quite chatty rather than action-oriented.

There are ways in which the material could’ve been different or dealt with but the way it is is fine and it still manages to be a genre film yet makes it and definitely deserves to be seen and talked about.

It wouldn’t have taken away from the film if maybe it had more of a homoerotic theme throughout which it seems to flirt with, but never goes that far as it has bigger fish to fry and other issues and it wants to convey.

Grade: B- 

THE MEAN SEASON (1985)

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Directed By: Philip Boros

Written By: Leon Piedmont 

Cinematography: Frank Tidy 

Editor: Duwayne Dunham

Cast: Kurt Russell, Mariel Hemingway, Joe Pantoliano, Andy Garcia, Richard Masur, Richard Jordan, Richard Bradford, William Smith 

When a teenager is shot at the beach, a journalist from The Miami Journal is sent to cover the story. He’s called by the murderer and told there’ll be four more.

This movie took me by surprise mainly because it was a Kurt Russell-starring thriller made in the 1980s that I had never heard of before. So it was fascinating to watch.

For its time this film seems to pass the mister and it’s not bad, but it doesn’t feel like anything that special either. Especially watching it in modern times. We have seen many movies and even television episodes of shows that tackle the same subject matter of journalistic ethics.

The film is filled with character actors some early in their careers others late. So it keeps it exciting watching them at work.

The film offers a few red herrings before generally just giving us the identity of the serial killer in the third act.

Whereas it becomes a cat-and-mouse game after the killer kidnaps the reporter’s girlfriend after he feels betrayed by the reporter.

The film chooses to examine the serial killer and his killings over the morality of what the reporter is doing and more becoming part of the story than reporting on it. Which would have been a stronger film. Exploring the newspaper industry and its culture at the time. 

The film even includes the old cinematic trick of having the newspaper swirl and spin before revealing the headline superimposed over characters. It also has the going to retire after one last job cliche. 

Screenwriter Christopher Crowe sued an alias for his credit on this film. Where you wonder if it’s because it differed from his original screenplay or was more of a side project job he did and didn’t want this to injure his career. 

I wish I could say this was one tries to make a dent in the weekly box office and was soon forgotten. if this film was made quickly and shoddily. There was real care and work put in throughout. 

The film is a good potboiler and time waster but never quite strong enough to be that memorable. Never quite making its mark. Despite its cast. 

Grade: C+

THE STRANGLER (1970)

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Written & Directed By: Paul Vecchiali

Cinematography: Georges Strouve

Editor: Francoise Merville

Cast: Jacques Perrin, Julien Guiomar, Eva Simonet, Paul Barge, Jaqueline Danno, Katia Cavaignac, Jean-Pierre Miguel, Helene Surgere, Sonia Saviange, Nicole Courcel 

Unhappy women are being murdered by Emile, a psychotic young man suffering from the delusion that his acts are mercy killings.

The title seems simple, but there is a deeper meaning, and this film proves to be so much more.

This might’ve been regular fashion back when it was made but everything feels so stylistic Maybe because, to a modern audience, it is so far and was made to feel that way. As it is a French Giallo that provides less mystery and violence and seems to be more about the setup

The first kill in this film seems like the victim, experienced it, and welcomed it. It comes off as stylish and fetishistic in a romantic or erotic way

And choosing his victims, the title character it seems like they welcome him and aren’t surprised last encounter liaison or fling before the end so that it’s almost romantic and putting them out of their misery or granting a last request.

Which ends up setting the tone for the film as a romance yet not a love story 

Almost like his actions are doing the victims of favor, as they are suicidal and feel they have no reason to live anymore. He offers assistance So they don’t do it themselves. Or go through the experience alone, nor have to worry about depending on their morals or beliefs going to hell, necessarily if religious

The victims, female, fashionable, and gorgeous, and presentation before their last breaths

The choreography of the floor show of one victim’s death scene is memorable and a delight, its style or international attitude and ideas.

The film can be drilled yet makes much out of a little and remains truly unforgettable, as well as an underrated gem that can easily throw an audience a bit of valance as the film goes on. We get to know the victims a bit more as we see the melodrama with each new one giving them, brava last scenes of their character’s last moments

We never see the actual kills only the before, and a bit of the aftermath to know that the deed was done

Wow, also witnessing the investigation of the case buying adults, Nancy, Drew, the character, and the police captain who start a kind of romance or at least a relationship hence toward romance

We watch as the killer gets upset as someone perverts his act of mercy per se by following him to the crime scenes and then stealing from the victims, making it seem like the killer’s motives are more about material gains making his gift seem  more common and presents a rivalry

Victims come off as if they feel forgotten or betrayed by the world, or maybe just betrayed by a man or lover, and they will finally be immortalized and die and finally get attention special before the end. This desperation makes them feel sparkling before putting them out of their misery.

Presented as glamorous the Weathered it feels like a Hitchcock film as it has it set pieces that are usually the murders that come off as artistic and depth at times. As the film plays, Layfair and laid-back, not too concerned or drastic despite the actions and the film’s move.

When it comes to Giallo there is a certain beauty it provides it showcases. One of the reasons I like them is that they know how to present the female characters stylishly, sensual, gorgeous and fabulous. Like screen sirens. Sexy for sure but not cheaply classy and less exploitive all about beauty. They feel like women Of class and culture. It’s presented more as normal not necessarily down to earth. Special in fact but somehow normal and approachable

Amongst the crowd with Imperfections seemingly edited out. 

The Death scenes feel like little short stories that offer glimpses of life lives and characters are given more dignity and death than might’ve had in life

They are double-crosses as the thieves seem to turn to murder groupies with funny emotional moments of turmoil as the third act is dragged out, but has plenty of beautiful moments

The film is more than just its simple title. This Gallo is a weird romance of the killer, granting his victims, and lovers wishes and making them feel special. Laissez-faire laid-back look at the serial killer and the investigation around his killings. That seems to be in no rush and strives to be more artistic than surprised filled or a procedure, except for a random dream sequence. The film is never exploited but creative and its simplicity is not so much a psychological study nor a thriller

The synopsis seems conventional, but that’s the film’s artistic aim. It has mainstream scares with deeper meanings and emotions in between that get confusing at the end and make it more cultivated.. there is also a boom mic visible in the final scene

The murder towards the end seems to be out of a discussion with the society around him, which is depressing as even the film feels like it betrays itself towards the end. There is even a boom visible in the final scene 

The film also has a great score 

Grade: B+