Tag: Malignant

2021 Film Awards

On By troubledproductionsIn AwardsLeave a comment

So we’re two months in, and it’s time to finish the summary of 2021 films in the way I usually do: randomly bitching and praising shit nobody has heard of. Some really tough decisions made, and some really easy ones. You might disagree, ask me next week and I might disagree with my own choices, but I had to make them, and here they are. Side note, there’s no “worst film” this year, there were a lot of bad films, but truth be told nothing felt quite bad enough to earn that.

Best Looking:

Blithe Spirit

One of the few things this film did well. It has a great colour scheme so that the visuals really pop. If the film itself was as good as it looked, it would have been one of my favourites of the year.

Censor

Almost entirely due to how the final third was directed, film geeks will love what they did with it in terms of how it looks. One of the best examples of using visuals to tell a story.

Come True

Just to warn you, this film is going to come up A LOT in this. I just loved the blue colours over everything. It perfectly matched the music and made the whole thing feel like you were watching it on a CRT monitor. Really unique and I love it.

Cruella

Striking colours, combined with great costume design. The visuals for a lot of this film consist of dark or boring backgrounds, then bright and stunning foregrounds/clothes to create striking images that you’ll love. There’s something weirdly retro too, makes you think of the time period, and is perfect for story.

Godzilla Vs. Kong

Purely for the sense of scale, this series has been a great showcase for spectacle cinema, and this is no exception. There are obvious plot issues, but I can’t deny how much I loved just sitting there staring at this film.

Love and Monsters

Yeah it’s a surprise to me too, but I love the director brought the world to life. You don’t watch this and feel you’re watching something obviously fake, the CGI is pretty damn good for a film like this. Everything looks and feels like it belongs in that world. It’s so good that sometimes you don’t really notice it, you’re not sitting there going “wow, look at that creature”, the creature is just there, and fits so well into it that it can pass you by.

Malignant

There were so many times watching this where I thought “yup, that would make a good poster”. Just let down by one of the special effects not really working for me.

Raya And The Last Dragon

The way that Sisu is animated is glorious, a solid character that flows through the air like she’s swimming. I love the way this looked, the little references to Southeast Asian cultures, the amount of water (which is notoriously hard to animate) which looks gorgeous. I just love the way this flows visually. Because of how similar they were I had to choose between this and Luca, this JUST inches ahead due to the building designs.

Soul

Mainly for the use of space, well, lines really. The fluid nature to the animation is reminscent of classic disney at its best. The whole thing just feels like an otherworldly dream. You look at it and you can almost hear the music.

Winner:

Last Night In Soho

Yes, the neon look is great. And the final sequence is a masterclass in visuals. But the day-to-day stuff is great too. The lighting is done in a way that looks natural but has a sharp focus, almost like a spotlight. And the scenes in the club are full of visual beauty.

Most Disappointing

A Quiet Place Part 2

This is where they’ll be a big difference between “Bad” and “disappointing”. Just on its own, this might have been an okay film. But as a sequel to one of the most unique films (horror or otherwise) of the last few years, can’t help but feel this is a poor effort. The new characters don’t feel like they’ve always been a part of this world, and the shadow of the dads death from the first one doesn’t hang as heavy over it as it should.

Antebellum

I had really high hopes for this based on the trailer, particularly one completely bad-ass moment of her running through a warzone. It just didn’t work for me though. The pacing was way off and it has no idea how to keep the momentum going. I feel you could edit this, take out some of the fluff, change the order of some scenes around, and you could get a really good film. But starting on the plantation for about 40 minutes, doing a near thirty-minute flashback to her before she got there, then going back to the plantation makes the whole thing feel disjointed. Tbh you don’t need to know that much information about her before she got there, just a few minutes to establish her life and who she is, then have her wake up in the plantation, look at the horror around her, then credits. It has nothing to say about the past, and as such says nothing about the present. A lot of it is just misery porn.

Lucky

I was fully on board with this for a lot of it. Sure there were a few moments where I felt “ouch that’s not good”. Bad music choices, the visuals looked too fake and stupid. And then the ending happened, and shat upon all the goodwill I had. It’s a shame as the concept was promising, and it had some good scenes. But it set up questions it had no intention of answering.

The King’s Man

Not exactly a bad film, but nowhere near as good as the previous ones. I really hope they do a sequel to this one because otherwise, it’s completely pointless. It didn’t set up the other two films or answer any questions we had. It’s just to set up something else, it feels like this is Iron Man, and the original 2 Kingsman films are Infinity War and Endgame, like we’re missing a lot of stuff in the middle. It’s nowhere near as stylish as the other two, with no real stand-out scenes.

Black Widow

I avoided spoilers for this, I assumed it would be game-changing. Nope. It just sets up a new Black Widow, something that could have been a tv show. In Taskmaster it features one of the most underutilized villains in the history of the MCU (and all feels way too similar to what they did with Ghost in Ant-Man And The Wasp), I suppose the real villain is Ray Winstones character, but the true villain is his acting coach. Not quite as dull as Eternals, but I had much higher expectations.

Winner

Wonder Woman 1984

I remember talking about this with someone before it came out, I mentioned how this reminded me of Thor: Ragnorak and was looking like it was going to be a technicolour ball of fun, as it is it’s just technicolour bullshit. It’s turned a strong independent female character into “I just need a man”. It’s not even an original story, it’s just another soft adaptation of The Monkey’s Paw, which has been done much better in other media. Also, I genuinely can’t remember that much about Kristen Wiigs character, she’s ridiculously underdeveloped, she’s given barely anything to do once she becomes a villain. It still looks good, but the script is diabolical. This is a BIG film, released just over a year ago, and featured a cameo from Lynda Carter, yet nobody talks excitedly about it.

Best Performer

Amy Nostbakken/Norah Sadava in Mouthpiece

Cheating a bit as it’s two performers, but they’re both playing the same character so I’m counting it. For a lot of these, I’m counting things like believability, facial expressions, dialogue delivery etc. They do all of those things well, but sold this for me was how unbelievably in-sync they are throughout. This goes beyond acting into performance art. The way they physically interact with each other is almost ballet-like in its precision and use of space

Riz Ahmed in Sound Of Metal

I mainly know him from Four Lions, he was in Nightcrawler but that was mainly Jake’s film let’s be honest. This? This was incredible. I didn’t know he had this in him. The pain, the torment, the frustration. His character is suffering, and his performance lets you know that.

McKenna Grace in Ghostbusters Afterlife

If she’s in a film I watch, she’s likely to be nominated in this category, every year. That’s how good she is. It’s not bias either, I didn’t recognise it as her while I watched this, all I thought was “I have no idea who that is but she is absolutely nailing every piece of dialogue here”. The way she delivers bad jokes makes them funny, her comedic timing is impeccable, and she’s talented enough that she carries the emotional setpieces too. She’s in a film with Paul Rudd, and outshines him.

Magdalena Kolesnik in Sweat

All the way through she gives a good performance, but the scene near the end where she’s being interviewed and she just breaks down completely. She’s helped by some tremendous dialogue which she conveys beautifully. But there’s a moment in the end where she realises that it was pointless, that nobody cares, that she just needs to smile and get back to work. It’s heartbreaking, and she nails it.

Katja Herbers in The Columnist

The second foreign language performer to be nominated here, both fully deserved. This one slightly edged it out because of how wordless some of her best moments were. You could tell her character was trying to hide her annoyance. It’s a difficult role to do as she has to be likeable, but also a serial killer. So she has to have that weird mix of danger and sweetness. It’s a testament to both her performance, and to the writing, that it works as well as it does.

Billy Crystal in Here Today/Anthony Hopkins in The Father

This is going to be tricky making this work for both but the reasons they work are so similar for both I feel okay consolidating them into one. So here goes: Normally they’re actors who play characters who lead a film, in control of every scene. So to see them play somebody so vulnerable is devastating. It’s so unlike them that it really hits home their situations.

Carey Mulligan in Promising Young Woman

Read a review which said she looked “like bad drag”. Fuck off. Besides, the important thing is how good she is in this role, and she’s great, her body language in each scene showing who’s in control. You can tell she’s instantly changed a situation to her advantage just by the way she’s standing. Plus she has an unsure confidence, she has to believe she’s doing what’s right, but there’s a part that’s not.

Rebecca Hall in The Night House

She’s always had a lot of promise but somehow manages to find herself in slightly disappointing roles (Iron Man 3, Godzilla Vs. Kong, Dorian Gray), in this she lives up to the potential you always knew she had. She plays a character dealing with intense personal loss, and that loss is written through every fibre of her performance. So even in the horror moments, you are always fully aware that this is a character tinged with sadness and regret. It’s the kind of performance that would be talked about for oscar nominations if they didn’t hate horror movies for some reason.

Niamh Algar in Censor

Occasionally you get a performer who you truly feel is representing the directors vision, and I feel Algar is doing this here. Her performance feels like it suits the character, the film, everything about it. I really hope her and the director work together in the future as they compliment each other wonderfully. She looks broken throughout and it’s amazing to watch. Even when she’s saying things she’s certain about, her face still seems unsure. It’s perfect for the character and I want to see her in more stuff.

Thomasin McKenzie in Last Night In Soho

This could not have been an easy performance for her to deliver, the emotional range needed is off the charts, and she had to do it all in a Cornish accent, and how did they even explain that accent to someone from New Zealand? Have to say, I never noticed though. I knew I recognised her from somewhere, but I couldn’t place where and I assumed it was some random Channel 4 show. The fact that she is this good, and is only 21 is terrifying and exciting.

Winner

Julia Sarah Stone in Come True

Already known to cinephiles in Canada due to her award-winning roles in The Year Dolly Parton Was My Mom and Wet Burn, this is the first I’ve seen of her and I now want to see more. Her performance is utterly captivating. This is without a doubt one of the best performances I’ve ever seen in my life. Her performance is seen in every moment of her performance, from her body language, her facial expressions, everything is filled with little nuances that sell her character.

Worst Performer

Ray Winstone in Black Widow

You’d think he’d be great at this, he’s basically a mob boss with access to superpowered beings. But his accent is SO bad it’s laughable. It’s so hard to take him seriously as a threat when his accent his travelling more than someone who doesn’t understand the rules of basketball. I haven’t heard accents this bad outside of someone being slightly racist.

Leslie Mann in Blithe Spirit

Again, the accent. I can’t tell what nationality her character was supposed to be, was she supposed to be British and couldn’t quite manage it, or was she just supposed to be posh and her mind automatically leant slightly British?

Winner

Lebon James in Space Jam

He can’t act. At all. His character admits that in the film, doesn’t make it better.

Best Soundtrack

Come True

Has one of my favourite songs I heard in 2021. If you listen to this you can instantly tell the tone of the film. Is great to listen to. But even outside of that song, it’s great. Haven’t heard a soundtrack this creepy this It Follows.

Soul

One of the best examples of music syncing with animation in a while. The whole thing plays like an art piece, the animation moving with the music in a wonderful flowing motion. Not quite sure how it would work independently, but it is marvellous as part of something bigger.

Nobody

Following the John Wick rule of using older music, and just like that it worked. It gives the violent scenes an air of beauty and class they wouldn’t have otherwise. Not exactly a soundtrack I would go out and buy, but it suits the film perfectly.

The Suicide Squad

Not quite as good as the others on this list at matching the tone of the movie, but the choice of songs is amazing. Probably one of the ones I’m most likely to listen to on its own.

In The Heights

Another musical, but very different from Annette. I’m not sure these would work on their own, not exactly the kind of soundtrack you’d show somebody who didn’t know the film, you’d needed to have watched this to truly get the songs I think. But once you watch it, you’ll love the music. The best one is probably the opening one, it does a great job of telling you who everybody is. This film had the advantage obviously of coming from an already established musical.

Last Night In Soho

Edgar Wright is one of those directors (similar to Gunn actually) who knows what songs to pick to make a great soundtrack. Definitely the case here, obviously the key musical motif is Downtown, but the rest of the film has songs that suit it too. They’re great at setting the tone.

Winner

Annette

Musicals normally have a sense of playfulness, except for adaptations like Les Miserables. This is dark, but in a beautiful way, and the music suits that. The opening number is probably the scene I’ve watched the most on youtube this year, when I watched it originally I rewound it multiple times because I wanted to feel the magic again. Part of that was the song chosen. It’s dark, but also playful, a Sparks song about how the film is starting, starring the cast, and the musicians. There are other really good songs throughout, actually I can’t remember any dialogue, in my head it was all music. Such good songs, there’s one where Adam Drivers character is just going on a rant on stage, and the audience are booing him and telling to go away, all in the medium of song.

Most Surprising

Mouthpiece

Assumed this would be one of those “oh it’s very well made for a low budget foreign indie film”, but this is genuinely one of my favourite films now. The emotion, the performances, the originality. I loved almost everything about it. Not going to go too much into it as will mention it later.

Love and Monsters

Probably not the best film in this category, a lot of the others I expected nothing and was surprised by them, this, I expected it to be quite bad. If it wasn’t for someone messaging me telling me to watch it I would have avoided it. This is much better than you may think it would be by looking at the poster. Heatwarming, funny, and just overall brilliant

Come True

Went into this knowing nothing, came out with one of my favourite films I’ve seen. Won’t be talking about it much in this one because I talk about it A LOT in other categories.

Winner

Ghostbusters: Afterlife

Some of these I went in blind and surprised me that way, some I thought were bad, but then checked them out after being told otherwise. This? I went in thinking it would terrible. The early reviews were very negative, and lets be honest it looked like it could miss the point of the originals completely. The first few minutes I was still unsure, it wasn’t until McKenna Grace’s character was on screen and started talking that I started to realise this could be good. It was better than that. Others in this category are better, but none have had such a big difference between expectations and reality. Loved it.

Best Character

Mav1s – Love And Monsters

Not in the film for very long, not even human. But gives the film some more humanity in its actions. Provides emotion, depth, and some very heartwarming moments. Very reminiscent of Baymax.

Red Guardian – Black Widow

The film was disappointing but it was never down to him. His character was funny and added a weird sense of pathos to it. I know the MCU is moving towards focusing on Yelena moving forward, but I’d much rather see more from him, weirdly I’d actually really want a prequel focusing on him.

Christine – How To Deter A Robber

There’s something so goofy and loveable about her. The moments where she’s on-screen are among the best. Essentially the type of character that Anna Kendrick would play.

Peacemaker – The Suicide Squad

There’s a reason this character got a spin-off. A sociopath who believes he’s a good guy. He is basically America personified.

Winner

Podcast/Phoebe – Ghostbusters: Afterlife

With just one of these characters, the film would be good, with both of them it’s amazing. The chemistry between them brings to mind classic 80s films like The Goonies. They’re just so perfect together that I had to include them both. They’re both great for the same reason. Incredibly well written and very funny. But the jokes they make don’t detract away from the tension, they’re not cracking wise while staring death in the face, they’re also not making jokes that kids wouldn’t make. They’re goofy jokes, which reluctantly raise a smile.

Best Film

Mouthpiece

Oh, this is tough. I may regret this decision. Usually, I just list the films nominated and then put the winner. I know there were a lot of films in the best of the year blog, but when it came to what my absolute favourite was, in reality, it was between this and Come True. I felt it would be disingenuous to list films I know had zero chance of winning, pretending they had a chance, would be a waste of my time writing, and your time reading. It is really close by the way, for different reasons. Come True is a film-makers film, Mouthpiece is a scriptwriters film. In terms of look and technical prowess, Come True runs away with it. In terms of originality, this has it. Come True is better from an analytical and film student perspective, Mouthpiece is better from an emotional one. In the end, it came down to this: If I had to watch both, which would I watch first? And the answer is Mouthpiece, it hit me harder.

So, that’s it for 2021, a surprisingly strong year for cinema. 2022 will probably have more foreign-language and independent reviews, so look forward to these getting a lot more pretentious and finding more obscure stuff. Should be fun.

2021 In Film: Day Six (The Good)

On By troubledproductionsIn Year round upLeave a comment

Cruella

I will freely admit this film is a bit bloated, but it’s still a lot of fun. Probably the best of the live-action Disney villain explorations (okay, that’s not saying much I’ll admit). It all depends on what they do next though, a sequel could make or break this. There’s a huge gap between the Cruella of the 101 Dalmations film and the Cruella in this, and I’m not entirely sure how they can manage to bridge the gap. They somehow need it for a character we support and like, to become a puppy killer. Or they could just leave it, that would probably be the smartest choice in terms of avoiding watering down this film.

+ Slick, stylish, and just a pure joy to watch.

– Doesn’t have the best use of music. Sometimes uses songs just for the sake of using them.

Best Moment: Cruella’s roaring rampage of revenge. Great fun to watch.

Worst moment: Almost all the bits with her friend from school who is now a journalist. Feels like it’s building up to something big, but never really happens.

Best Performer: Not going to go with Emma Stone. I know most people would, and she is really good. But to me, Tipper Seifert-Cleveland was more important. She set the tone early on, dropping the baton for Stone to pick up.

Worst Performer: Jamie Demetriou, his performance seems a little out of place for this movie.

Best Line: “you killed my mother” “you have to be more specific”

Original review here

Here Today

The first of three dementia-based films I’ll mention in these round-ups, all three having incredibly different tones. On the downside that does mean that you’ve seen a lot of this film before, but it has moments of Billy Crystal being incredible and those moments are soon forgotten. There’s great chaotic energy to the whole thing. It’s great to see Billy Crystal lose control. He’s normally so in charge comedically that it’s jarring to see him lose it, but it’s perfect. There are moments where it feels like it’s going into rom-com territory, and that’s when it’s the weakest. Also when it goes into the “look, a young cool black person has come in to shake up the white establishment” tropes a bit too often. But it has so much heart that it’s forgivable. Like I said, there are three films about this topic out this year. They are all very different, and The Father is technically better, but this one feels more personal to the writer.

+ A film about this topic shouldn’t be this funny.

– There’s a plot point that seems to have been dropped and could have provided a lot more emotion if it was properly explored.

Best Moment: The 180 his family do when they find out the truth, believable and completely heartbreaking.

Worst moment: The very end where he has a vision of his ex-wife sitting nearby. A bit schmaltzy and silly, doesn’t really gel with the rest of the film.

Best Performer: Billy Crystal. He owns this film.

Original Review here

In The Heights

Magic. That’s the best way to describe this. It truly transports you to a different place. This is the first straight-up musical I’ve seen since 2016’s La La Land, and I much prefer this. For starters, the characters are more likeable, the standard of songs across the board is better (although La La Land did have some crackers), and the choreography is consistently solid. I know normally it’s expected to compare musicals to other musicals, or to compare films by minorities to other films by minorities (algorithms consider Boyz In The Hood and Spiral the same, despite being wildly different they’re both “black movies so if you like one you have to like the other, right?”). This? This is more like The BFG from a few years ago, which anybody who knows me knows I absolutely love. It has that same sense of warmth and love to it. But there’s also a darker edge, it’s a film about worry, about family, about legacy. But it’s wrapped up in sun-kissed songs so delightful that you don’t notice how dark the subjects they’re talking about are.

+ The warmth and magic this fills you with.

– There are moments where the song just seems to be there to delay the narrative.

Best Moment: The opening song, a great way to introduce the characters.

Worst moment: There’s a song near the end which could stand to lose a verse or two.

Best Performer: Logic dictates it should be Anthony Ramos as the lead Usnavi, but Melissa Barrera is truly the MVP of this, providing the real emotional core.

Original Review here

Last Night In Soho

This is a joy to watch. The colours, the music, it’s incredible to watch in terms of directing. The downside is the pacing. It’s a pretty big downside though. There are some incredibly repetitive moments, particularly in the middle section. It’s a shame as otherwise, this is a fine film, and if it wasn’t for how tiring that section this, this would be rated much higher. But it really killed all momentum the film had up that point. I would still say you need to watch this though, the performances are great (although Anya-Taylor Joy isn’t in it as much as the advertising may make you think), and like I said, it looks phenomenal. Plus these are the best written female characters he’s ever had in his films.

+ The truly inventive and unique visuals. Really makes you annoyed that his version of Ant-Man didn’t work out.

– The pacing. Kills it

Best Moment: The club set pieces.

Worst moment: Jack murdering Sandie. Turns out not to have happened so is only really there to confuse and set the audience/Ellie on the wrong path. It’s like telling a deliberate lie to someone, and then mocking them for believing it.

Best Performer: Thomasin McKenzie. Scarily good.

Best Line: “This is London. Someone has died in every room in every building and on every street corner in the city.” Really dispels the myth of London as a place where dreams come true, reminds you that it was pretty shitty for most of its history.

Original Review here

Malignant

When I came out of this I actually had to message someone “have you seen this yet?”, I needed other opinions, this film did a lot well, but the thing it did best was staying with you after it ended. After watching it, it will bounce around your head for a while. So why isn’t it listed higher? Mainly because of how uneven it is. There are some effects which just look a little bit silly compared to the rest of it. Plus the romance sup-plot does not work.

But what does work is almost everything else. It looks great a lot of the time, there were so many times when I was watching this and thought “that would make a good poster”. Most of the performances are good, and the music is solid. It’s also pretty f*cking weird, especially the third act which is just sheer glorious insanity. I’m doing a disservice to this by ranking it this low, I am aware of that, but the subplot really hurt it. You still have to see it. Plus it features both Madison Wolfe, and McKenna Grace, which means the odds of the two being in a road trip movie together in a few years time has increased slightly.

+ Even if you hate it, you won’t be able to turn away.

– The main “couple” have no chemistry at all.

Best Moment: The third act. It’s longer than most moments, but trust me.

Worst moment: When the thing is revealed, built up as really shocking and strange, but the budget lacks it down.

Best Performer: Annabelle Wallis.

Worst Performer: George Young.

Original Review here

Ninjababy

A refreshing pregnancy comedy. The main character, Rakel, never thinks for one second about raising it as her own, and the film never judges her for this decision. She recognises she is not in a position to do it, so it’s best she doesn’t. It helps that she’s played by Kristine Thorp, who I’m not familiar with (probably because I haven’t watched any other Norwegian comedy-dramas before). Thorp does a wonderful job of making her character likeable. Helped by the writing though, the way the character interacts with everyone around her is delightful.

+ The use of animation overlays gives it a unique visual style and cool punky energy.

-The music choices seem wrong.

Best Performer: Kristine Thorp, obviously.

Best Line: “Blood and suffering!” Never thought that line could be delivered in a weirdly heartwarming way.

Original Review here

Promising Young Woman

If I had to use only one word to describe this, it would be “harrowing”. I imagine this is a more disturbing watch to women, as they’ll recognise a lot of this. I am definitely watching this as an outsider, and even then this is a disturbing watch. It does so much right though. Films have a strange view of rapists. They’re nearly always shown as the creepy guy, or the sociopath, a stranger in the night who breaks into your house and forces themselves on you. They don’t often display them as the “nice” guys who help a drunk woman home and then take sex from them while they’re passed out. A lot of the guys in this film are not good people, even the background characters. At one point she gets cat-called, the standard “show us your tits”, she just stares at them and says nothing, their response to this is “fuck you”, obviously. Just shows how they don’t really want any sign of accountability.

Moments like that have led to this film being called “anti-men”. It’s not, it’s clearly not. It’s anti-rapist and anti-rapist supporters. If you think being against rapists means you’re against all men, that says a lot about you and your friends. The only way you can take this film as a personal attack against you is if you’re the kind of person who needs attacking. The kind of guy who makes sure the drinks his female friends drink have a little bit more alcohol in them than they think, in the hope they’ll be drunk enough to make bad decisions with you later. You’re not a rapist, you’re a nice guy. You’re her friend aren’t you?

Die in a fire.

Back on point, the ending of this where she dies (spoilers) is hauntingly long. Incredibly uncomfortable as it happens in real-time. This is apparently realistic, that is how long it would take for someone to die by that method. It also completely absolves the guy doing it of any innocence. To do something for that long is not a “spur of the moment”, you have to be a calculated scumbag to do that. So it’s so satisfying when he then gets arrested at a wedding. It did originally end with the murder, so glad they changed it. It now has a much more satisfying ending. not quite as realistic, but it means you end the film with some sort of closure.

+ Such an important movie, as some of the responses to it have proven.

– It’s weird for a near two-hour film to have this many underdeveloped themes and characters.

Best Moment: The opening, sets the tone perfectly.

Worst moment: Not really a moment, but the romance with Bo Burnham’s character feels underwritten, so the reveal near the end doesn’t land.

Best Performer: Carey Fucking Mulligan. Obviously.

Best Line: “It’s every man’s nightmare to be accused of that” “do you know what every woman’s worst nightmare is?”

Original Review here

Supernova

The second of three dementia-based films, and probably the one I’m least likely to go back to. It is still very good though. This one is more focused on the coming storm, somebody who knows what is going to happen and is scared of it. The downside to this approach is it means you don’t really FEEL what he’s going through. You don’t see what he’s fearing that much. Compared to Here Today or The Father, where you knew exactly what they were going through, here he mostly seems composed, with a moment every so often to remind you, but moments which are said rather than shown.

+ The relationship between the two.

– When the two aren’t on screen together, the film seems to lose a step or two.

Best Moment: The dinner party

Worst moment: When Tucci’s character is talking to someone about stars going out in a blaze of glory. Very unsubtle.

Best Performer(s): Tucci/Firth. They work so well together as a couple.

Best Line: You know what the hard part is? It’s that you’re… you’re just… you’re not supposed to mourn someone while they’re still alive.

Original Review here

The Night House

This really sucked me into it. I felt like I was inside the film and it was all happening around me, rather than seeing it on a flat 2D-screen while pet-watching for someone (for some reason my brain thought I saw it at the cinema, that’s how much it sucked me in). The director, David Bruckner, also gave us The Ritual, another highly recommended film. He’s a director you really need to keep an eye on in the future. He’s doing the next Hellraiser film, so it might be time for me to actually watch one of those.

+ The look. The whole thing looks like a damn postcard.

– Some may find it a bit dull. Plus, the “good guy” still murdered a lot of innocent women. And the film never really focuses on that.

Worst moment: When it reveals that her husbands suicide note saying “Nothing is after you” meant “there is a demon called Nothing, he is after you”. That’s just deliberately vague and unhelpful. Purely to drive the plot forward.

Best Performer: Rebecca Hall. Easily.

Best Line: “I was the depressed one, he was the one there helping me. Maybe I infected him”. Damn, that’s…..that’s worrying. It’s beautiful though in how it captures the thought process of someone with depression. You feel guilty about being depressed, and that you’re to blame for any bad things that happen to anybody. It cuts deep, too deep.

Original Review here

The Power

There’s a line in this “I grew up in Our Lady Of Grace, a children’s home”. Okay, not a great line, but the utter contempt on the face of the nurse opposite when she gave that line was great and summed up societies attitudes on children from them. Especially since it came straight after the nurse said there’s no link between poverty and health it’s just “people round here live like animals”. That’s what this film is, it’s a magnifying glass on injustice.

+ The general sense of dread

– The editing could be better in some of the ending moments. Plus the character seems to be written just to garner sympathy at times, could be better written.

Worst Moment: Screaming match at end, comes off a little silly.

Best Performer: Rose Williams. The physicality is incredible, and there’s something of the Natalie Portman to her

Worst Performer: Diveen Henry. Purely because for one line her accent wavered.

Best Line: “A place people die in should never be allowed to get that dark”

Original review here

Malignant (2021)

On By troubledproductionsIn Review2 Comments

Quick synopsis: Madison (Annabelle Wallis) is a pregnant woman living in Seattle with her abusive partner. She starts receiving visions of people being murdered and………..actually you know what? A synopsis would not help you that much here. Just watch the trailer, then watch the film. It’s fucking strange.

I watched this on the 25th September, and I still haven’t properly gathered my thoughts about it. It’s something unlike anything else you will see this year. One of the most unique films and I’m still not sure how it got made and given a wide release. It’s unlike anything else I’ve seen this year, but also has a weird sense of familiarity. It’s the kind of film I may not buy, but I do want to see again just to experience it.

It’s a really strange film, incredibly uneven. There are moments where it looks slick as hell and incredibly well produced, but then moments where it looks really cheap and kind of silly. I have never both enjoyed and been disappointed at the same time as much as I have with this. Some of it feels like it’s a tribute to horror movies of time past, there’s a definite air of the giallo horror movies of the 70s and 80s, but also very reminiscent of the early horror movies of Peter Jackson or Sam Raimi. It mostly works, but there’s one moment which is supposed to be horrifying but I heard laughter in the screening I went to.

One thing that is pretty even throughout is the tone. It’s consistently uneven. There are some sub-plots here which definitely could have been cut. Chief among them is a romance sub-plot that felt so unnaturally shoe-horned in I wanted to hit both characters with a cheese grater and tell them to stop being so damn horny. It might work if the performances are better, but they’re incredibly flat a lot of the time. So wooden they might as well be an IKEA shelving unit.

Now onto the good. The music is great. Both in terms of the songs picked, and the original score. It’s incredibly brutal in parts, not shying away in situations when lesser films would.

And the third act? It’s the cinematic equivalent of throwing lasagne against the wall and playing in the mess it’s created. It’s chaotic, it’s strange, and it’s a hell of a lot of fun.

The visuals are brilliant in parts. Some of the effects aren’t great, but the actual look and colour schemes are beautiful. It says a lot about both this film, and how much of a pretentious dick that I am, that there are a few scenes in this where I thought “wow, that use of focus and shadow is very Citizen Kane”. There are so many shots here which could have been a poster.

So in summary go see it. You may love it, you may hate it, but you will be fascinated by it and feel yourself unable to turn away. I am so glad something like this can get made, I am all about this kind of big-ish budget experimental cinema. A truly risky move from director James Wan, but one I feels pays off.