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.
A foreboding storm is the backdrop to the sad tale of a boy who witnesses a murder and in fleeing the scene is run over and killed. Twenty-five years later, an eerily similar storm forms which seems to create a link to the past. Can Vera (Adriana Ugarte) save the boy? And what consequences will follow from this?
Mirage is a mind-bending mystery crime time-travel film. Beautiful in every way. The ending is shocking and totally satisfying; it doesn’t wipe out our journey as time travel films often do (the “it was only a dream” phenomenon). Despite the fantastic set-up — a storm which acts as a kind of wormhole to the past through which people can communicate via their television sets –. Mirage is wholly believable. Like all great time travel movies, it uses the set-up to explore those “Sliding Doors” moments where your life changed totally, almost as if on the toss of a coin.
Despite the message that ‘we should be contented with our lot, as it could be worse’, the film never moralises. The focus is the human drama.
The cast could not be better. The acting is thoroughly believable. Ugarte bears a huge weight as our dramatic lead Vera, and she delivers a naturalistic and delicate performance.
Anyone who has ever mused on what would have happened had they not caught that train, forgotten their wallet that time, or decided not to go out after all that night, that is, most people, will love this film. A special movie and the best Spanish language flick I have seen in years.
In last roll of the dice, a desperate family moves from their village to the city. They hoped their dreams would come true, but their new flat is a house out of their worst nightmares.
Fairly generic stuff: bad stuff happens in the apartment many years before, new family get short shrift from the ghost(s) of the fallen, experts in spookology get drafted in to help fix it, the shit generally hits the fan. So far so standard. But the acting, especially from Iván Marcos (paterfamilias Manolo), is powerful: broad-shouldered, literally and metaphorically, but broken, we can still just about glimpse the young and raw buck that Candela (Bea Segura) fell in love with. The film is deeply atmospheric with great use of all tropes.
The best generic horror movie for a while. But it is deeply generic.
Jordan Peele’s feature debut as writer-director, Get Out, is the story of young African-American Chris (Daniel Kaluuya) and his Caucasian Apple Pie American girlfriend Rose Armitage (Allison Williams). They take a road trip to meet Rose’s posh WASP family for the first time. Chris is nervous, but Rose reassures him: “They woulda voted for Obama a third time if they could!”. Her family greets him with warm and open arms. But something’s amiss, and Chris just can’t put his finger on it. But as the hours and days go by, Chris begins to realise something is very wrong with the Armitages.
Get Out is a wonderful and surprising horror-mystery-thriller which keeps you guessing until near the end. It’s quite different: a refreshing mix of familiar ingredients in a new form, the hallmark of much groundbreaking work.
It’s thrilling and mysterious, and at times surreal and funny. I thought this worked well, but surrealism and comedy might be a discordant turn-off for some viewers.
Peele says it’s a “social horror”. And it’s certain that it’s on the back of this antiracist message that the film picked up four Oscar noms and one win. Indeed, the point he makes — that white liberals can have a racism every bit as dangerous if not more so than hillbillies can — is important and not often made in cinema. Sad,ly the message was undercut by the thoroughly surreal nature of proceedings; surrealism is a key part to making satire effective, but I feel things stretched too far in this picture. Frankly, this film is best viewed as a horror-mystery-thriller and not as some sort of satirical social commentary (although your Guardian-reading friends surely sold it to you as such).
The final twist seemed a step too far into absurdity to make its social satirical points. But worse, it isn’t quite consistent with what comes before. Although fair play to writer-director Jordan Peele: the ending wasn’t merely tacked on as so often is the case with the shock twist, but was clearly the direction we were headed in all along, with hindsight. Nonetheless, it doesn’t really work. And the biggest twist is revealed through something unbelievable (a scheming character just leaving something incriminating lying about).
Original, refreshing, thrilling, albeit with an ending that doesn’t quite work. Just don’t watch it as a serious take-down of racism.
A young married couple who are struggling to deal with a betrayal in their relationship decide to start afresh by moving into a newly renovated dream house in a new, shiny suburban neighbourhood. The dream home for the dream price, but is it too good to be true? (hint: it’s too good to be true)
Aftermath is fairly standard house invasion/freaky stalker living in the walls/is-it-a-ghost-is-it-a-squatter-is-it-in-her-mind schtick. But it’s thrillingly directed by Peter Winther, better known as a producer (of such flicks as Independence Day and The Patriot). This film is a mishmash of other films and the true story of a jealous home bidder. The main plot twists are clear a mile coming (any doubts on what’s going to happen to the family dog?), but the film was riveting.
There were a few melodramatic TV movie aspects, but Aftermath never goes overboard. The acting was also highly compelling. I really found myself lost in the world of the film, and that’s a testimony to all involved including young actress-screenwriter Dakota Gorman.
No classic, but this is thoroughly entertaining stuff.
Agoraphobic divorcee Anna Fox (Amy Adams) is increasingly losing touch with reality, most of her days are spent staring out of her window and spying on her neighbours. But one day she witnesses her next door neighbour, and sole friend, Jane Russell (Julianne Moore) murdered in her own house. However, when the police check it out, it turns out that her neighbour is well and alive, but is not the woman that Anna knows (Jennifer Jason Leigh).
Is Anna crazy, or is there a cover-up afoot? The Woman in the Window is a thrilling mystery crime drama. Off-kilter performances and direction with several twists.
There is a vaguely Scream-esque aspect to the final reveal, but done straight-faced. That’s not necessarily a good thing. Other aspects of the film are slightly derivative. None-the-less, the movie was well acted, logically scripted, and compellingly directed.
A really good movie, albeit one which underuses its wonderful cast.
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.
Álvaro (Javier Gutiérrez) is a worn-out notary who harbours dreams of becoming a successful writer of high literature and is thoroughly tired of people constantly going on about his successful wife Amanda’s (María Leon) latest novel. “Writing about what you know” doesn’t yield great results when you’re a boring clerk, so Alvaro decides to cause conflict in his own life and the life of those around him in the hope that this will bring better results.
The Motive a.k.a. El Autor (‘The Author’) is a slow-moving, delicate yet thrilling character study. Beautifully portrayed by sociopath-on-demand Javier Gutiérrez (see The Occupant), we can see the cogs turning in Álvaro’s brain by the slightest pause or flicker of the eyes. Gutiérrez brings everything to this highly believable portrayal.
The script, based on Javier Cercas’ 1987 novella, is highly believable. But despite its strengths, this film will not to be everyone’s tastes. There isn’t a lot of “action”, but there is a lot of scheming. Nonetheless, a fantastic movie.
When Carlos (Luis Tosar) decides to take his kids to school one morning, he imagines that the breakfast time argument with his wife Marta (Goya Toledo) is the worst thing that would happen to him. Little does he know that his car is rigged to a bomb which will explode when they leave the car. But who is this mystery stranger responsible, and what does he want?
Retribution a.k.a. El Desconocido (‘The Stranger’) is a 102 minute long white knuckle ride, a crime-action-thriller so tense that I found myself agitatedly yelling at the screen. Believable, and with good performances from our leads including the stranger (Javier Gutiérrez).
Anna has spent her whole life locked in a cabin in the woods with her daddy, the last survivors of an apocalypse where the monstrous “wildlings” devoured all of mankind. Now blossoming into teenagehood, she finds herself seeing things in a way she hadn’t considered before. And anyway, when her daddy is played by the mercurial Brad Dourif, you know things aren’t as straightforward as she has been led to believe.
Wildling is a fantasy-horror which does not fit the mould. An unusual film, it not so much twists and turns, as it is surprises us as it wends its way. This film will not appeal to everyone. Why? Its very genre changes as the film goes on; we see the ground shift beneath us and suddenly things are different again. Therefore, being a bit of a genre-bending pic, it won’t be pure horror enough to satisfy some horror fans, nor fantastical enough for many of the fantasy crowd, and it just has too much everyday drama for the first two groups. None-the-less, this is an entertaining, original film which sucks you into its world.
There are great performances from the aforesaid Dourif and his fellow players. Especially good is Collin Kelly-Sordelet who gives a sensitive and believable performance as Ray, Ellen’s younger brother, a quirky outsider himself who is able to connect with Anna. These strong performances are the iron track that this quirky tale runs assuredly on.
Wildling was Fritz Böhm’s first feature length screenplay. He did so well that he’s obviously become a trusted quantity as he will be directing the upcoming Escape Room 2 (2021).
A wonderful tale that, while not everyone’s cup of tea, should be sampled by all.