An action-espionage-drama following Anna, a poor woman from Russia with a heavy burden of suffering who is ready to give up on life. At her nadir, a man swoops in with an unlikely offer — become a spy, in exchange for a decent life.
Despite the unbelievability of the premise, the film is otherwise quite believable. The movie’s made up of several segments which end in a twist, the scenes then rewinding to show us what really happened. Entertaining and shocking, but this shtick begins to wear thin by the end.
An entertaining and exciting flick with good acting all round.
An evil apparition increasingly menaces an emotionally damaged family while itself apparently only clinging onto this Earthly realm due to its own unresolved trauma.
This sounds like the outline of countless other films. However, Mama really is fresh-feeling and impressive. This formula is refreshing by the use of this feral child motif which recalls the real case of Genie.
Good acting from all. Very creepy.
But there are some downers. Aunty only exists to be knocked off and never feels like a danger to the nascent family life of our protagonists nor as a fully fleshed out character. Also, the CGI is a little ropey, though not ruiningly bad.
Unorthodox is the story of Esther (Shira Haas), a nineteen year old from a Hasidic Jewish community in New York, who tries to flee her arranged marriage and authoritarian community to build a new life for herself. But will her community, or her husband, let her escape?
Unorthodox is, I believe, the first Netflix series shot in Yiddish, which makes it notable. It’s an engrossing story which paints a powerful picture of a repressive community without ever getting into Judaism-bashing. The limited series was infused with realism.
When a home birth goes tragically wrong, Marta (Vanessa Kirby) and Sean’s (Shia LaBeouf) marriage and lives spiral viciously downwards as they struggle to deal with their awful loss.
Pieces of a Woman features powerful central performances from Kirby and LaBeouf. The film was realistic and often crushingly depressing. But it also dragged. Slow to move, it wasn’t so much a slow-burner as a slow-flickerer. It was missing that little something extra. None-the-less, the brilliance of the cast, the direction, the editing, and the realism of the script make it one worth seeing.
Not so much a well-structured narrative but rather well-drawn characters.
A troubled couple, Ray and Joanne (Sam Worthington, Lily Rabe), stop at a petrol station where their daughter’s arm gets Fractured in a fall. They rush to the nearest hospital, but something is terribly amiss. Pushy staff keep mentioning organ donation. And when daughter Peri (Lucy Capri) and Joanne disappear during an MRI, the hospital deny they checked in — or even exist at all. Ray must fight to save his family and prove his sanity.
A kind of horror Flightplan, we are kept guessing until the end: abducted family, or imagined family?
Unsettling, thrilling, but slightly shlocky. A good romp.
Under the Shadow (2016) sees a mother struggle to maintain a normal family life in war-torn 1980s Tehran amidst Iraqi bombs and a mysterious evil presence.
BAFTA award-winning, foreign language, original setting, social commentary, Mark Kermode-approved: everything a latte-supping cosmopolitan liberal like myself loves. Yet this Iranian The Babadook doesn’t quite work.
Where Babadook was a nerve-shredding slowburn, Under the Shadow was just a patience-shredding slow. Babbadook‘s is-it-isn’t-it-real psychological terror has been replaced with going-nowhere social commentary on feminism in post-revolutionary Iran. A truly scary “monster” and creepy apartment building can’t hide the lack of focus or peril. Disappointing.