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.
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.
Following George Lucas’ death in 2027, a respectful period of around six weeks is observed before the announcement of the most keenly craved reboot in cinematic history: Star Wars Episode I. Time to cut that cancerous mass, AKA Episodes I, II, III, out of humanity’s consciousness, burn every copy, and pretend they never existed. And this plan definitely wasn’t in the works for years behind George Lucas’ back…
Directed by J. J. Abrams’ protégé’s protégé’s protégé who was poetically born in 1999, the year Phantom Menace was released.
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.
Nooooooo. I can’t even bring myself to joke about this. But I just know it’s going to happen! Despite what Robery Zemeckis says, money talks; just ask Judas. How dare they will have going to have rebooted this classic! Sad face. Possibly justified as someone having gone back to the past from the future and changing the timelines in some kind of Star Trek reboot stylee.
Once the new X-Files series (starting 2016) got cancelled after two seasons, it was only a matter of time before a reimaginized reboot would happen. Relive the story anew of the odd couple that was African American logical smart-thinking LGBT activist, Divinity Scully, and white middle-class zany new-age Jew, Davina Duchovny, as they investigate the paranormal — all at the tax-payers’ expense.
Note: this article was originally written in 2016, and the prediction about only two seasons of the new X-Files has actually come true!
After scrabbling around for something, anything to replicate the success of Game of Thrones (finished 2018), HBO finally hits upon the idea of a Lord of the Rings series(!) It’s time to go back down the Hobbit hole, but this time using all the appendices and flabby bits that Walsh, Boyens, and Jackson wisely left out of the film, in an all new, ten-episodes-a-series, eight-series epic. Starring Sean Bean — who dies again.
Note: this article was originally written in 2016, and this prediction has actually come true!
Harry Potter and the Philosopher’s Stone: Part I (2022)
For a new generation of kids and fans, J. K. Rowling’s world now eked out with additional previously undiscovered source materials, this will spark a new frenzy of pottermania. Each of the first six books will receive a two part film makeover each, with the final getting a trilogy — or a two-part trilogy, depending on the box office takings.