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Set in 1630, Robert Eggers’ The Witch follows a family banished from a Puritan community and forced to live, isolated and penniless, in a remote woodlands shack. Soon, malevolent forces begin to molest the kids and infect the goat, and the family is engulfed in a maelstrom of religious hysteria and occultist magic. With its deeply unsettling atmosphere and frenzied performances, The Witch has (not undeservedly) become one of the most acclaimed horror films of the new millennium, with many critics praising its attention to detail and the slow-burning tension of its narrative (as well as its mascot:
Whilst people constantly bring up the current increasing slog of superhero films, there’s another string of films that are much worse in their repetitive nature that seemingly seem to go under the radar: the bro/stoner comedy. Seth Rogen could be seen as the unofficial face of the stoner movement, films where a manchild is forced to grow up, usually through the love of a woman, in between bouts of marijuana, pop culture references and hanging out with your “bros”.
Man is an individual only because of his intangible memory; and memory cannot be defined, but it defines mankind. — Ghost in the Shell X-Men: Apocalypse, the capper to the X-Men:
Carrie is a movie inspired by one of Stephen King’s first novels, a dark story mixed with dramatic notes, where all the uncertainties and fears of adolescence, such as the problem of being different in a society that does not forgive, are transformed into anger and the desire for revenge. The movie was directed by Brian De Palma in 1976, but I believe it is a timeless story; indeed there have been many remakes, the last one in 2013 by Kimberly Peirce, setting it in a modern context. De Palma’s film, which can be considered a cult classic, shows the daily life of teenagers at an American high school and explores the theme of bullying deeply, adding some gory scenes towards the end.
In Matthew Solomon’s Chatter, Agent Martin Takagi (Tohoru Masamune) comes across the intimate video chats of married couple while monitoring Internet traffic for the Department of Homeland Security. The married couple, played by Brady Smith and Sarena Khan, begin to discover that their new home is haunted. In the same vein of horror films such as Paranormal Activity and the more recent Unfriended, the mechanics within this film felt familiar.
Mark of the Witch (also known as Another), written and directed by Jason Bognacki, is described as a horror fantasy film. It tells the story of Jordyn, played by Paulie Rojas, who is confronted with her Aunt Ruth’s (Nancy Wolfe) attempted suicide just minutes after blowing out her birthday candles, and soon discovers a dark secret about herself. Jordyn just wanted to know who she is and where she comes from, which her Aunt Ruth acknowledges is a perfectly normal thing for anyone to wonder about.
Within the last couple of years, the Western seems to have made a semi-comeback. Recent notable titles include John Maclean’s directorial debut Slow West, the horror-thriller Bone Tomahawk, and Quentin Tarantino’s claustrophobic and violent The Hateful Eight. And, in just a few months, a remake of The Magnificent Seven will be released, a film adaptation which has attracted the likes of Denzel Washington, Chris Pratt, Vincent D’Onofrio and more (which is hopefully an indication that it is at least halfway decent).
Shane Black’s The Nice Guys couldn’t come at a better time. Actually, strike that. If it had come out just a few months later after the slog of the summer movie season of blockbuster remakes, sequels, reboots, and rehashes had polluted our minds, then perhaps it would be received all the more with acclaim.
On the surface, what the medical industry should be doing is simple: saving and improving lives. All possibilities should be explored and tested, with the breakthroughs made readily available to anyone who needs it.
I was on holiday with two of my closest friends last week. Amidst the flow of beer, the puffing of cigarettes and the non-stop giggling, the conversation turned to our grandmothers. We talked about how our grandmothers had grown up in such a different time to ourselves, how we are (as women) afforded things that our grandmothers would never have been.
3rd Street Blackout is an independent romantic comedy written, directed by and starring Negin Farsad (as Mina) and Jeremy Redleaf (as Rudy). The film explores the trials one tech-savvy couple endures during the midst of a post hurricane blackout in an urban New York City neighborhood. It also features Ed Weeks (as Nathan Blonket) and a brief appearance by Janeane Garofalo (as June Sherman).
2016 has become the year where audiences are openly questioning the onslaught of mainstream movies coming out, especially when it comes to unnecessary sequels. Some of the films this year that have made us think ‘did this really need a sequel?’ include Now You See Me 2, The Hunstman, My Big Fat Greek Wedding 2, Independence Day 2, Zoolander 2 and even an Ice Age film set in space.
I love a good documentary, more than that I love a good mystery. While documentaries such as The Wolfpack have great stories, it’s the films that delve into the depths of the truth that really shine through for me. Finding Vivian Maier and Carol Morley’s Dreams Of A Life excel at this.
Richard Linklater may be the definitive coming-of-age filmmaker of our time, effortlessly blending John Hughes indebted stories of young people coming to grips with their own identities, with an Altman-esque ear for naturalistic dialogue. His films feel timeless, yet completely of their time – snapshots of a generation that will remain beloved when the next generation of cinephiles lay their eyes on them. A “Spiritual Sequel” His latest film, the punctuation-friendly Everybody Wants Some!!
Superhero films are seemingly a dime a dozen lately. Though only the beginning of May, we have already seen the release of Deadpool, Batman v. Superman: