Posted in 2010-2019, Film Review

Ready or Not (2019)

Image is property of Searchlight Pictures

Ready or Not  – Film Review

Cast: Samara Weaving, Adam Brody, Mark O’Brien, Henry Czerny, Andie MacDowell, Nicky Guadagni, Kristian Bruun, Elyse Levesque, John Ralston

Directors: Matt Bettinelli-Olpin and Tyler Gillett

Synopsis: As she marries into a wealthy family that owns a considerable empire built upon board games, a bride’s wedding night turns violent when she’s forced into a deadly game of hide and seek…

Review: When you think of a wedding, you picture them to be joyful, happy occasions filled with family, drinks and memories that will last a lifetime. Or, that’s at least how they usually go. However, for anyone marrying into a family that has a vast and considerable empire built upon board games, their wedding night will not involve a disco, lots of drinks and some joyous music. Instead, it will involve a game, a game of the considerably more bloody variety that pits everyone in a brutal battle for survival.

Grace (Weaving) is excited to finally be marrying into the Le Domas family as she ties the knot with her fiance Alex (O’Brien). Once the ceremony is concluded, Grace is invited by her new relatives to take part in a game that the Le Domas clan do every time someone new enters the family. When Grace chooses the “hide and seek” card, she initially believes that they will be playing a typical, innocent game of hide and seek. However, she soon realises that it it is anything but, as due to a curse that they believe an ancestor has placed on them, her crazed new relatives believe they must kill Grace, before the next morning, at all costs.

With such an absurd, and just completely bonkers premise, had the film taken a more serious approach it with itstone, it likely would have fallen flat on its face. However, the film knows what it is, and it uses the absurdity of that premise to its advantage. Writers Guy Busick and R. Christopher Murphy use this ludicrous premise, and transform it from your typical run-of-the-mill horror/slasher film, into a batshit, and brilliantly entertaining horror that expertly manages the balance between the comedic and horror elements of the story. It is made all the better by peppering brilliant moments of dark humour throughout, whilst significantly turning up the dial on some very over-the-top violence.

As the woman who’s forced into this deadly fight for survival, Samara Weaving, having had the smallest of roles in Three Billboards outside Ebbing, Missouri, gives a spectacular, memorable breakthrough performance. Right from the moment you meet her, she’s an immensely likeable protagonist, and you will her to find the courage and resourcefulness to escape this dangerous life or death situation, that she finds herself in. The main source of comedy largely comes from the Le Domas clan, who clearly have no idea how to handle the rather antiquated weapons they’re using to try and eliminate Grace, which leads to some spectacularly entertaining moments.

Boasting some excellent production design, and likewise with the costumes, most notably Grace’s wedding dress, that goes through just a few wears and tears as the night wears on. While it almost never fails to be entertaining throughout its 95 minute run time, it does get to a point where the violence becomes so over the top and ridiculous, that the comedic aspect of it does begin to wear off a little bit. Touching upon themes of marriage, family, and a bitter class divide, the scope was there for these to be explored a little more. Though, it may make someone think twice before agreeing to marry into an eccentric and wealthy family in the future.

A brilliantly, and entertainingly bonkers blend of horror and comedy, with a truly memorable performance from Samara Weaving. This brings a whole new meaning to the phrase “till death do us part.”

Posted in 2020-2029, Film Review

The Invisible Man (2020)

Image is property of Universal and Blumhouse

The Invisible Man – Film Review

Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Oliver Jackson-Cohen

Director: Leigh Whannell 

Synopsis: After her abusive boyfriend commits suicide, Cecilia (Moss) finds herself being tormented by a mysterious presence that has her convinced that somehow, he’s still alive, and is out to torment her…

Review: Shared cinematic universes certainly became all the rage following the success of the Marvel Cinematic Universe, and it left many studios wanting to get their own shared universes off the ground. Universal’s plans for a Dark Universe certainly offered much potential, but as its first film tanked, down went the hopes of getting it truly off the ground. A reboot of the 1933 film The Invisible Man was among the projects lined up for the doomed universe. While those plans never come to fruition, thanks to a combined effort of Universal and Blumhouse has brought it to the big screen.

Cecilia is in a relationship with Adrian (Jackson-Cohen) which has ultimately deteriorated beyond repair due to his extensive abuse and she consequently becomes determined to leave him once and for all. When she learns that he’s committed suicide, Cecilia is initially elated that she’s finally free of him. However, her joy immediately turns to horror after finding herself being subjected to some inexplicable, and traumatic events. She soon becomes convinced that Adrian is not dead, and that somehow, he’s the one tormenting her as revenge for trying to leave him.  

As the woman at the centre of this nightmare, Elisabeth Moss gives a truly outstanding performance. The film is reliant on her ability to convey the true horror of this inexplicable nightmare that she finds herself in, and she rises to the occasion magnificently. In many instances in the film, she is acting against a presence that cannot be seen, but she is convinced that there’s something there. Even as everyone, even those really closest to her, think that she’s lost her mind, and is completely paranoid. She is unwavering in her belief that this imperceptible presence that is subjecting her to this torment is somehow, Adrian himself. While Moss is the unquestioned star of the show, each member of the supporting cast all deliver from Harriet Reid as Cecilia’s sister, to Aldis Hodge as her childhood friend James, and his daughter Sydney (Storm Reid).

In the era of the Me Too movement, the decision to frame the titular character as a vicious, domestic abuser was a brave decision that could have backfired. However, thanks to Moss’s excellent performance and Whannell’s sharp screenplay and direction, it serves as an effective means of telling this suspenseful, and thoroughly gripping story that has a lot to say about relationships, and the consequences that can happen when they turn abusive. With every moment of the film’s two hour and five minute run time, the excellent camerawork helps to build up the tension masterfully. Even such numerous every day scenarios as making breakfast are utilised to build suspense and dread among the audience leaving them, fearful as to what fresh horror this unseen menace will unleash on Cecilia next. 

While at the time, Universal head honchos would have undoubtedly been immensely frustrated with the Dark Universe falling apart after just one film, it has ultimately proved to be a blessing in disguise. Instead of pouring all their efforts into crafting a pulsating action packed cinematic universe juggernaut that are a dime a dozen nowadays. It’s safe to assume that a decision was made to pull back and instead utilise their efforts to craft a story that’s doesn’t rely on well worn horror tropes. Furthermore, by grounding it in such timely subject matter, it serves as a sharp reminder of the stark consequences of domestic abuse, and how it can reap devastating consequences on the lives of those who suffer from domestic abuse.

Combining timely subject matter to a classic story, mixed in with excellent camerawork and a terrific, wounded lead performance all results in a perfect example of a reboot done just right.

Posted in 2010-2019, Film Review, London Film Festival 2019

The Lighthouse (2019)

Image is property of A24, Focus Features and Regency Enterprises

The Lighthouse – Film Review

Cast: Robert Pattinson, Willem Dafoe

Director: Robert Eggers

Synopsis: Tasked with the maintenance of a lighthouse on a remote island, two lighthouse keepers find themselves in an increasingly desolate existence, desperately striving to maintain their sanity…

Review: How would you cope with the unforgiving isolation of living and working on such a small patch of land? With day after day of heavy, exhausting work in the most brutal, relentless weather conditions? Granted, the wonder of modern technology would make that situation in today’s world much less depressing. However, for the two souls at the heart of this barmy tale from Robert Eggers, with no such technology at their disposal, it will be the ultimate psychological battle to keep their composure, and sanity in one piece.

Set on a remote and desolate New England island in the 1890s, after an introduction that establishes an extremely ominous and tense atmosphere. The two, initially nameless, lighthouse keepers (Pattinson and Dafoe) are tasked with the maintenance and upkeep of the lighthouse. As their assignment begins, the brutality and unforgiving nature of their living conditions begin to take an extremely heavy toll on both men. The longer that they spend on the island with no other company but each other’s, the more the two of them find themselves being driven slowly to the brink of madness.

After unsettling audiences with The Witch, Robert Eggers continues that streak with another deeply unnerving psychological drama. By shooting in a 4:3 ratio, in black and white, he enhances the feeling of dread and suspense that builds from the very first shot that continues to linger, like a pesky seagull that’s got its eyes on your food, and refuses to leave you alone. The extremely ominous score enhances that feeling of everlasting dread, as these two men are put through the most intense psychological test. With Jarin Blaschke’s portentous cinematography, Eggers’s direction is masterful. The way he chooses to position the camera, and with some of his directorial choices, there’s a foreboding, sinister atmosphere that is maintained right throughout the film.

Given their immense talent as actors, it should come as no surprise that Robert Pattinson and Willem Dafoe give hypnotically magnificent performances. The relationship between them starts off on good terms and there’s a mutual respect. However, this doesn’t last as with each passing day of their solitude, it all begins to unravel. As both of them appear to be hiding something from the other, they both try to maintain their composure and sanity, all the while the distrust threatens to erupt into violence. The film screams volumes about themes of isolationism, and loneliness, and conveys them in an extremely unique manner. The tension builds to such a frightening extent that you could probably cut it with the bluntest of knives. With a script co-written by Eggers and his brother Max, there’s certainly an idiosyncratic factor to the events that unfold. Though while these may provoke emotions ranging from awe to dread, the magnetic performances will keep your attention on the screen.

Some of the actions depicted on screen will likely make you laugh, or wince in horror, or maybe a combination of the two. Furthermore, with undertones of a not very subtle nature, this film is most assuredly not for everyone. While the dialogue can be quite tricky to understand in places, Eggers has crafted a film that’s wholly original and extremely unique in terms of its production.  With only his second feature film, along with the likes of Ari Aster and Jordan Peele, Eggers has firmly stamped his mark on the horror genre, whilst simultaneously ensuring that any job applications for a vacant lighthouse keeper position may potentially diminish as a result.

Brooding and uncompromising, with sublime direction from Eggers, and a pair magnetic performances from the Pattinson and Dafoe, The Lighthouse is a film you definitely won’t forget in a hurry.

Posted in 2010-2019, Film Review

It (2017)

Image is property of Warner Bros. Pictures and New Line Cinema

It – Film Review

Cast: Jaeden Martell, Sophia Lillis, Finn Wolfhard, Jack Dylan Grazer, Jeremy Ray Taylor, Wyatt Oleff, Chosen Jacobs, Bill Skarsgård

Director: Andy Muschietti

Synopsis: After a number of children go missing in the town of Derry, a group of young outcasts get together to fight the mysterious entity that’s terrorising their town…

Review: Let’s be honest, even if you like them, there’s always been something mildly/extremely terrifying about clowns. Designed to be entertainers, bringing nothing but joy, more often than not, they make people want to run away in fear. Stephen King’s 1986 novel It certainly perpetuated that fear and equally, with the adaptation of the aforementioned novel back in 1990. Though this didn’t really float with viewers, Stephen King’s work has once again been brought to the big screen to remind us all why clowns are the terrifying entities many of us perceive them to be.

It is 1989 and in the town of Derry, Maine, an alarming number of children who have disappeared without a trace, never to be seen again. One of these victims is Georgie, the younger brother of Bill (Martell), who becomes determined to find out what really happened to his brother. He’s joined on his quest by his friends Richie, Eddie and Stan (Wolfhard, Grazer and Oleff) who are all the targets of the unpleasant bullies at their school. Recruiting Beverly (Lillis), Ben (Taylor) and Mike (Jacobs) and going under the name of the Losers Club, these seven misfits band together in a bid to defeat this dastardly clown and put an end to the nightmare that he’s inflicting on their town.

Run away, run away, run away, run away, run away…..

The chemistry between the members of the Losers’s Club is ultimately the core component of this story and though some performances are stronger than others, each member of the club brings something to the table. Being the one who has the significant emotional investment in this investigation, Jaeden Martell gives the strongest performance. Though he may stutter in his speech, but he poses a steely determination not to be unnerved by the sinister events that are occurring, though each member has their moment to shine. Yet being at the centre of this nightmare, Bill Skarsgård as Pennywise delivers a performance that’s profoundly creepy and unsettling. Though this is in no small part due to the excellent costume and make-up design, it’s almost a certainty that clowns, or certainly Pennywise at least, will be continuing to haunt nightmares for many years to come.

The early stages of the film chooses to use it as an opportunity to flesh out each member of the Loser’s Club lives, which while important to the story as these are the film’s protagonists, it means the pacing is a little rough.  As before any showdowns with that ominous clown, they have to deal with the horrible bullies at their school, as well as in some cases, in their own homes. Though it can be a bit of a chore to get through, it’s necessary set up, for these characters. However, once we have arrived at the film’s climatic third act, is when the film merges its coming-of-age and horror elements of the film combine. Bolstered by Andy Muschietti’s excellent direction, and excellent production design, all of the above ensure that Pennywise’s dwellings have an extremely ominous feel to them.

Jump scares are not anything new when it comes to scaring the audience, indeed when used poorly and frequently, they often become ineffective and lazy film-making tropes. However, Muschietti utilises them effectively, as they help to build and maintain the tension and dread in this climatic showdown. A showdown that is merely at the halfway point, because  as we know, the Losers Club have some unfinished business.

 A little sluggish in its opening stages, but the film truly floats once it finds its greatest strength: the strong relationships between the members of the Losers Club.

Posted in 2000-2009, Film Review

Shaun of the Dead (2004)

Image is property of Studio Canal and WT²

Shaun of the Dead  – Film Review

Cast: Simon Pegg, Nick Frost, Kate Ashfield, Lucy Davis, Dylan Moran, Bill Nighy, Penelope Wilton, Jessica Stevenson, Peter Serafinowicz

Director: Edgar Wright

Synopsis: With his life going nowhere, stuck in a dead-end job and failing to win over his on-off girlfriend Liz, Shaun (Pegg) tries to get his life together, and must do all this, in the middle of a Zombie apocalypse…

Review: Like many fictional beings that don’t really exist in our world, humanity has seemingly always had an interest in all things Zombies. Ever since the first Zombie film debuted back in the 1930s, these horrifying creatures have been an ever present, creating their own sub-genre of horror films. But in the first film of what is now known, as the Cornetto trilogy, director Edgar Wright and his two leads Simon Pegg and Nick Frost, devoured this genre and blended a bit of romance and comedy, all while giving it a very uniquely British taste.

Shaun and his best mate Ed (Frost) are both aimless in their lives and careers, seemingly content with going nowhere, and more than happy to pass their time playing video games, and getting drunk at their favourite pub. However, when Liz (Ashfield) decides she has had enough with Shaun’s laziness, she dumps him.  Being jilted gives Shaun the kick up the backside he needs to get his act, and life together and win her back. To make matters even more complicated, the city of London is now experiencing a Zombie apocalypse that throws many undead obstacles in Shaun’s path, which Shaun and Ed must now do battle with, all while on a quest to win back Liz’s heart.

Impersonate a Zombie day was not a roaring success..

Right away, it’s clear that Shaun is not initially the most likeable of protagonists but, probably in no small part due to Simon Pegg’s charisma and charm, he has a good heart that ultimately brings you round to his cause. That being said, having Ed by his side definitely doesn’t help matters. Though Ed can be extremely entertaining in his own right, his lazy, reluctant attitude brings out the worst qualities in Shaun. Yet, despite the massive flaws in both their personalities, that there’s something that’s very sincere and hilarious about their friendship that you cannot help but want to see them succeed, even when Liz and her best friends Diane (Davis) and David (Moran) are less than supportive of Shaun’s efforts.

Edgar Wright and Pegg’s screenplay is consistently hilarious. From the very first shots of people on their commute, who already look like they are members of the undead, to the very first scuffle with a pair of zombies, to the moment where the Zombie Apocalypse has fully taken over the city. Much like a Zombie apocalypse, the comedy never lets up. Wright fuses the excellent comedy of the script and at the same time, turns on the style with the action. From a fight in a back garden to the climatic final showdown in a pub of all places, the comedy compliments the action, and vice versa.

Even in the midst of all the uproarious and absurd action scenes, there are quite a few moments of intense drama and emotion. In addition, of course it wouldn’t be a Zombie film, without its fair share of blood and guts, with a fair number of London’s citizens meeting some rather grim fates. However, having cut his teeth on A Fistful of Fingers and the Channel 4 TV show Spaced, it was just the start of an upward trajectory for Wright as a director, and likewise for Pegg and Frost as actors. Each of their careers, and indeed the Cornetto trilogy, would later go from strength to strength, whilst presumably giving sales of Cornettos an enormous boost at the same time.

Consistently hilarious, with an exciting blend of comedy, drama and horror, and an excellent ensemble cast ensured that the Cornetto trilogy got off to a tasty start.

Posted in 2010-2019, Film Review

Midsommar (2019)

Image is property of A24

Midsommar  – Film Review

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

Director: Ari Aster

Synopsis: After personal tragedy strikes, troubled student Dani travels to Sweden with her boyfriend Christian, and a group of their friends. What starts out as a pleasant trip, quickly descends into a nightmare as they become involved with a sinister pagan cult…

Review: Quite often, when you picture the setting of horror films, the scene of a house, set in the pitch black night-time may come to mind. However, this doesn’t have to always be the case. Case in point, in his follow up feature to Hereditary, Ari Aster proves that you don’t necessarily need the dead of night darkness to make something seem scary, as something just as horrifying or unnerving can occur when the sun is shining in the bright summer sky.

Dani (Pugh) is going through an extremely difficult time in her life in the wake of an unimaginable personal tragedy, and it’s having an adverse effect on her relationship with her boyfriend Christian (Reynor). When she finds out he’s heading off to Sweden with a few of their friends for a festival that only happens once every 90 years, she decides to join them hoping to take her mind off things. Upon arrival, while things start off nice and peaceful, it doesn’t take long for things to go sour as the festival quickly descends into a hellish nightmare, basking in the hot Swedish Summer sun.

There is no sense of urgency in which Aster chooses to tell his story. His screenplay deliberately bides its time so this enables each act of the film to serve a purpose to the story, though this slow pace could be problematic to some viewers. The first act is solely concentrated on Dani’s testing relationship with Christian that is on the brink of collapse, fuelling a sense of dread for Dani that lingers throughout the film.  Through all of the ensuing horror that the festival’s activities bring later on in the film, the relationship of these two people is at the centre of this sun-soaked nightmare.

Once we get to Sweden however, and the festivities have begun that things start to get deeply disturbing for Dani, Christian and their friends. To say that this film is not for the faint of heart would be an extreme understatement, due to quite the large amount of disturbing imagery. Though it would be easy to be shocking for the sake of being shocking, the imagery is thought provoking, with the themes of grief, loneliness and rejection are all present. With just about every frame, there’s a lot of symbolism to be extracted from the unnerving festivities, so much so that one could write pages upon pages of analysis of what is being depicted on-screen.

There is not a single false note in any of the performances, but without doubt Dani is the heart and soul of the film, and Florence Pugh gives a wounded, layered, awards worthy performance. Among, Christian and the rest of their gang, it’s Will Poulter’s Mark who comes closest to stealing the spotlight as a man who’s less than impressed with the festival’s activities. This is something that the locals don’t take kindly to, and they consequently give off  sinister vibes to send a shiver (or two) down your spine.

Aster has crafted something that will be analysed for many years to come. The direction, combined with extremely beautiful cinematography and immaculate production design are all beautiful to look at. These juxtapose perfectly with the trauma of the events playing out in front of us, it manages to be simultaneously haunting and mesmerising to look at, with an unsettling score from The Haxan Cloak. Nightmares definitely can happen in broad daylight, hence, we should all just stay in doors.

Thematically thought-provoking, and visually immaculate, with a haunting but powerful lead performance from Florence Pugh. Ari Aster’s second foray into horror film-making is a beautiful nightmare come to life. 

Posted in 2010-2019, Film Review

Us (2019)

Image is property of Universal, Monkeypaw Productions and Blumhouse Pictures

Us – Film Review

Cast: Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph, Evan Alex, Elisabeth Moss

Director: Jordan Peele

Synopsis: As they relax during a summer vacation, a family’s holiday quickly turns to a nightmare when they receive some unwelcome, and very familiar, looking guests at their home…

Review: For someone who made their name for many years as one half of a very successful comedy duo, Jordan Peele’s career has gone in quite a different direction in recent years. As he has made the transition from comedy, to film-maker pretty seamlessly. After the success of the unnerving and furiously relevant Get Out, which bagged him a much deserved Oscar, Peele is back to terrify audiences once again.

At the centre of this new nightmare is Adelaide (Nyong’o), her husband Gabe (Duke), and their two kids Zora (Joseph) and Jason (Alex), setting off for a vacation to their summer home. All appears to be going swimmingly with the family enjoying themselves. Not long after arriving however, the holiday goes a bit awry, when some visitors arrive unannounced. It quickly dawns on them that these people, who bear something of a close resemblance to themselves, have got some sinister motivations. Thus a deeply unnerving ordeal lies in wait, and the family find themselves in a fierce battle to stay alive, a battle literally against themselves.

Like with Get Out, there is a vast amount of subtext and deeper meanings to Peele’s screenplay that are definitely intended to mess with your mind. It’s not quite as politically charged as his previous film, but nevertheless Peele isn’t afraid to get across some dark and disturbing symbolism. He shines a light on humanity, and the human condition, which can be open to a lot of different interpretations, chief among them being is humanity its own worst enemy? This is far more than your typical home invasion film, and Peele’s direction in these intense dramatic scenes is masterful. Even with the haunting score from Michael Abels and Mike Gioulakis’s ominous cinematography, it’s proof if needed that you can make anything scary if you want to. You will never look at red overalls and scissors in the same way ever again.

To be asked play two very different versions of yourself cannot be an easy task for any actor, but it’s a task that every member of this family rises to in spectacular, and haunting fashion. Lupita Nyong’o has proven herself in the past to be a fantastic actress, but here she gives maybe the performance of her career as both she and her doppelganger counterpart are the leaders of their families. After his hilarious turn in Black Panther, Winston Duke is on hand to provide the comedy, and he does so brilliantly. When adding comedy into a horror story, it can be extremely problematic as it can negate the horror elements of the story, but Peele’s background in comedy ensures that the film stays on track.

Despite a mere two films under his belt as a director, Peele has in the last couple of years gone from strength to strength. It’s one thing to make your first film to be eerie, enthralling, extremely well layered and thought provoking in terms of its themes. Yet to follow that up with another equally thematically deep and haunting film is a resounding testament to Peele’s remarkable talents as a writer and a director. Get Out was by no means a fluke, and now audiences, especially fans of the horror genre (and their doppelgangers) have a new name to hail as a horror film-making force to be reckoned with.

 Brilliantly tense performance(s) across the board, especially from Nyong’o, Peele further enhances his reputation as a horror maestro with a suspenseful and thought-provoking sophomore feature.

Posted in 2010-2019, Film Review

A Quiet Place (2018)

Image is property of Paramount Pictures and Platinum Dunes

A Quiet Place – Film Review

Cast: Emily Blunt, John Krasinski, Millicent Simmonds, Noah Jupe

Director: John Krasinski

Synopsis: In a desolate post apocalyptic future, creatures that hunt based on sound are roaming killing anything that makes a sound, one family must live in absolute silence in order to survive…

Review: If one were to somehow measure the decibel level of Planet Earth, one would imagine that it would likely be quite loud. As a species, it would be fair to say that humanity makes quite a lot of noise as we live our day-to-day lives. Therefore to live in a post-apocalyptic world where making even the slightest of peeps will likely be a fatal mishap, seems an extremely daunting prospect. For one family dwelling in a desolate US city, this is a predicament they find themselves in.

It is 2020, and with many of humanity presumed to have suffered a terrible fate at the hands of our nameless antagonists, we meet the Abbott family who are desperately fighting to stay alive in this dire situation. As well as directing and writing, Krasiniski stars as Dad Lee, and Mum Evelyn (played by real life wife Emily Blunt), and their children Regan (Simmonds) and Marcus (Jupe).

We are thrown right in the thick of this crisis, and with a mere few shots and not a single line of dialogue, it becomes crystal clear that this world is a terrifying place to inhabit. It is a brave choice to have pretty much no dialogue for the first half of your film. In so doing, the film relies on sound to convey the imminent danger facing the family, and thanks to some sterling work from the sound department, that danger posed by these ghastly monsters is almost instantaneously, and brutally, established.

Don’t. Make. A. Sound….

The post-apocalyptic world is a very familiar scenario for sure, but the screenplay, written by Krasinski, along with Scott Beck and Bryan Woods, gives the film a very unique and fresh feel to it. To say it is suspenseful, would be quite the understatement. The world that these characters are inhabiting is an extremely tough situation in which to try and stay alive. Consequently, right from the very first shot the tension begins to build, and despite a few lapses, the tension remains high throughout.

To write, direct and play a lead role in the film is a lot of work but Krasiniski does all three to wonderful effect. Equally terrific, as she almost always tends to be, is Blunt as his wife. Their chemistry is very strong, which isn’t surprising given they’re married in real life! What’s equally strong is the relationship they have with their children, the standout of whom is Millicent Simmonds as their deaf daughter, the fact that the actress herself is deaf adds a great deal of authenticity to this story of one family’s struggle to survive.

It is not easy to convey fear and every other emotion without making a sound but all of the family members pull it off tremendously well. Krasiniski might be best known for his comedic acting chops, but his direction is meticulous in its execution. Every time one of our family find themselves in danger,  the tension is racketed up a few levels and the audience feels that as they watch these characters desperately try to survive. In addition, the score provided by Marco Beltrami also plays its part to help build that tension.

Though it is a little slow in the initial stages, the film manages to be a very innovative piece of horror/thriller cinema, all while racketing up the tension without a great deal of dialogue being uttered, an achievement well worth shouting about, just not in this world.

A simple premise, but one that feels refreshingly original and excruciatingly tense almost from the first shot, with excellent performances across the board. Whisper it quietly, but we might just see future ventures into this genre from Krasinski.

Posted in 2010-2019, Film Review

The Killing of a Sacred Deer (2017)

Image is property of A24, Curzon Artificial Eye and Film4

The Killing of a Sacred Deer – Film Review

Cast: Colin Farrell, Nicole Kidman, Barry Keoghan, Raffey Cassidy, Sunny Suljic, Alicia Silverstone

Director: Yorgos Lanthimos

Synopsis: A skilled surgeon meets a young man whom he befriends, but when strange things start happening to his family, he is left facing a terrible and heartbreaking decision…

Review: Sometimes, a film lets you know right off the bat that the story you’re about to witness is unconventional to say the least, and not like anything you have ever seen before. The dominance of certain genres in mainstream cinema mean that such pieces of idiosyncratic cinema can be most welcome interludes. Indeed, these types of unique storytelling can almost be deemed necessary. Following in the wake of The Lobster, director Yorgos Lanthimos certainly continues on down that path of peculiar storytelling.

Of course, we have already seen an example of this type of out of ordinary storytelling in the form of Darren Aronofsky’s mother!, a film that it would be fair to say polarised audiences massively. And though not quite as shocking as that film was, Lanthimos certainly aims to unsettle the audience in this tale of Steven, a renowned heart surgeon who encounters a teenage boy named Martin whom he befriends. Everything seems fine and dandy between Steven and Martin, he introduces him to his wife Anna (Kidman), his son Bob, (Suljic) and daughter Kim (Cassidy).

Yet as time goes on and mysterious, unexplained things start happening to Steven and his family, and something suggests that the root cause of these events is Martin, who has a grudge against Steven for something that he might have done in the past. The story is certainly very unconventional and the characters are not exactly the most likeable bunch of people you’re ever likely to meet in your life. Farrell plays Steven as your loyal family man who loves his family more than anything, but despite all that, there’s some dark undertones to his character. Kidman is perhaps the most likeable of the bunch, but even she is sucked into this murky situation that is enveloping this family, and the duo certainly shine in these roles that are certainly designed to test the actors to the maximum.

Perhaps giving the best performance of them all though is Keoghan as Martin. Initially he starts off as quite a friendly young man, but it isn’t long before you notice the very troubling and sinister occurings that are going on with him, and perhaps the root cause behind all of this psychological, nightmarish horror that is unfolding. Lanthimos’s directing style, including long shots of panning down ominous looking hallways certainly helps add to the uncomfortable vibe of the film, not to mention the very dreary colour palette. Lanthimos’s script (co-written by Efthymis Filippou) is shrouded in themes that are designed to haunt the audience. It opts to explain certain things, but not others, and it’s up to the audience to fill in the gaps.

There is certainly a lot of mystery surrounding, which you would think keeps the plot moving along at a brisk pace, yet this doesn’t prevent the film from suffering pacing issues. It is a very slow burn, particularly in the first act as you watch all the the pieces fall into place. However, once it reaches the second half and in particular the climax, it pays off, but not in a way that is going to leave the audience at all satisfied. Not because the climax doesn’t pay off, it pays off alright, but the pay off is not exactly going to leave you blissfully happy once the credits begin to roll. No, it is instead going to mess with your mind.

 Unnerving to the maximum, but tremendous performances across the board result in an intriguing but ultimately extremely uncomfortable experience that doesn’t lend itself to repeat viewings.

 

Posted in 2010-2019, Film Review

mother! (2017)

Image is property of Paramount Pictures and Protozoa Pictures

mother! – Film Review

Cast: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer

Director: Darren Aronofsky

Synopsis: A married couple are in the middle of redecorating their home, living a quiet peaceful life, yet when some uninvited guests show up, their tranquil  lifestyle is changed forever…

Review: The wonder of film is that it can generate a considerable array of responses among audiences. A film can be inspirational viewing, it can leave you speechless in shock, it can make you very angry, and it can leave you wondering what on earth you just watched, leaving you thinking about the film for days afterwards. In the case of Darren Aronofsky, here’s a director who is not afraid to make some psychologically damaging stories that leave their mark on their audiences.

In his latest film, Jennifer Lawrence and Javier Bardem play a wife and husband, neither of whom are really properly identified, known only as Mother and Him respectively. In a large house that is far too big for just the two of them, they live in quiet harmony with Mother decorating their house while Him is a poet, struggling to find his muse. However, their peaceful existence is ruined when a guest, Man (Harris) turns up unannounced. Mother is uncertain, but Him welcomes this visitor into their home. And when Man’s wife shows up (Pfeiffer) this is where everything gets really sinister.

To say this film is strange would be a severe understatement. Aronofsky reportedly wrote the screenplay in five days, which could imply that the story maybe a bit rushed, but this is for the most part, not the case. Though a slow burn in the initial act, once the guests start to arrive is when things go south very quickly. Right from the first shot, the tone is creepy and sinister with some very vivid imagery, and metaphors that can be open to many different interpretations. Be warned, some of the imagery is macabre,and deeply unsettling at times. The very unequivocal undertone that is at the centre of this story will either infuriate or mesmerise, as is evident by the boos and cheers that greeted the movie in equal measure at its Venice Film Festival debut. Divisive in every sense of the word.

With her Hunger Games days now long behind her, Jennifer Lawrence continues to show her considerable acting credentials by giving a haunting , wounded performance, an Oscar nomination wouldn’t feel out of place. She is front and centre of the film, we witness many of the horrors in this film from her perspective. Bardem has shown in the past that he can portray a terrific villain but here, he’s a bit more nuanced, but still also gives an unsettling performance given the role he plays in the developing horror that we witness in this film. The rest of the cast also do their best to add to the ensuing tension, and that makes said tension almost palpable.

Aronofsky helms the film in a way that makes it deeply unsettling to watch, which is clearly what he was going for. The camerawork certainly helps to build the tension. However, the screenplay is so engaging it will ensure that you will be transfixed by the events you see on screen, and equally aghast. Yet at the same time, there’s something so intriguing behind the themes and ideas that drive this film. With metaphors about a plethora of topics aplenty, Aronofsky has made something that certainly will not be to everyone’s taste. Nevertheless, what he has crafted has ensured it will be dissected and analysed at films schools for years and years to come, and that’s no mean achievement.

You will probably either love it or hate it, bold but dark and unsettling storytelling with two haunted performances at its heart, a film that will leave a lasting impression on its audience, for better or for worse.