The King of Venereal Horror has begat a true Prince of Pain. Brandon Cronenberg, the 40-year old offspring of Baron of Blood David Cronenberg, takes up his pops’ mantle circa the turn of the century, when the elder Cronenberg began to pivot away from visceral science-fiction-tinged horrors (Videodrome) and bodily transformations (The Fly) and towards more dramatic affairs (A Dangerous Method) and electric thrillers (A History of Violence). As one sun sets, another rises and with Possessor, a movie that marries the chilly intersection between technology and humanity and some absolutely spine-tingling visual depictions of bloodshed, the younger Cronenberg has come into his own. Read More
SUNDANCE 2020: Rebecca Hall Is Next Level Good in the Scariest Ghost Story in Years: ‘THE NIGHT HOUSE’
On darkness, Nietszche offered, “He who fights monsters should be careful lest he thereby become a monster. And if thou gaze long into an abyss, the abyss gazes back into thee.” The Night House, an expertly-crafted, terrifying ghost story with a towering lead performance from Rebecca Hall, takes this sentiment to heart. Hall is Beth, a widow hoping to understand her husband Owen’s (Evan Jonigkeit) shocking suicide, diving into the dark recesses of his cell phone and discovering more than she bargained for. Glimpsing the abyss beyond, Beth confronts a terrifying, mutually exclusive truth: either ghosts exist or there truly is nothing waiting for us beyond this mortal coil. Read More
The Top Ten Films of 2019
One hundred and fifty. That’s the final tally for new release movies I’ve seen this year as of writing this here article. The shot clock is up. The endpoint to officially putting my selection for the top ten films of 2019 is kaput. The decision is written into stone. Out into the ether. That means I had to give the old Thanos snap to 140 movies in the process and this year’s selection sumo-wrestling was just as painstaking and awful as any other. The things I do for clicks. ‘Twas a fine year for film with a smattering of highlights, from magic rock dramas to alligator horror, anime blockbusters to feminist comedy, with critical darlings and box office hits often coming from the least expected of corners. Oh and Disney cleaning up at the bank per usual. Read More
‘STAR WARS: THE RISE OF SKYWALKER’ Blindly Resurrects the Past To Finish The Saga
If the central tenet of Rian Johnson’s The Last Jedi was to kill the past to make way for the future, The Rise of Skywalker is all about bringing the dead back to life. After the divisive middle entry to this new Disney-helmed trilogy, The Force Awakens director J.J. Abrams was tasked with the Herculean feat of pleasing both the fans and detractors of The Last Jedi and with The Rise of Skywalker decides to just lean into resurrecting and regurgitating the past as much as possible, much like he did his first time out. The most obvious example of this comes in the form of our old pal Sheev, the Senator-turned-Supreme-Chancellor-turned-Emperor, whose appearance was teased to fans from the very first trailer, and his handling is a microcosm of the film’s issues writ large. Read More
‘UNCUT GEMS’ Bets Big on Sandman’s Dramatic Chops
The unique genius of the Safdie Bros is that they can put Adam Sandler in one of his best dramatic roles to date and still start the movie with a classic Sandman butthole joke. In Uncut Gems, Sandler plays skeezy jeweler Howard, a Jewish Big Apple resident and compulsive gambler in Manhattan’s Diamond District. We meet Howard via his insides, in the midst of a colonoscopy, and things just get more shit for him from there. Howard owes just about everyone in the city, running up spendy vigs with the local pawn shops, wheeling and dealing with low-rent loansharks, and making sketchy deals with his more mobbed-up acquaintances. Exactly the kind of people you don’t want to owe a penny to. Read More
‘MARRIAGE STORY’ Is a Heartbreaking Depiction of Love Ending (That’s Especially Traumatic for Divorce Kids)
“What’s the opposite of a fiancée?” Scarlett Johansson’s Nicole muses, trying to find the right word to describe her soon-to-be ex-husband Charlie (Adam Driver). She doesn’t really want to still call him her husband, because that ship has clearly sailed. But nor is he an ex yet either. There’s a lack of finality to their relationship. Unsigned paperwork. Unfought legal battles. Unclaimed wreckage from what was once a marriage. Read More
Incisive ‘PARASITE’ a Boundary-Smashing Stroke of Genius
Bong Joon-ho’s Parasite, a film that has received near universe praise since its Cannes debut, is a masterful synthesis of the director’s great skill as a filmmaker. The South Korean storyteller, who has been active since 1994, is known to dabble in difficult-to-confine genres, sampling his funky take on crime epics (Memories of Murder), creature features (The Host), and sci-fi larks (Snowpiercer) but always with a flair for the theatrical, a knack for the oddball, and with a good store of surprises up his sleeve. Even his sloppiest film (Okja) reveals a storyteller with an iron-clad command over his intentions. His best works though can be truly transcendent. And that is what we’re dealing with here. Read More
Roommates are Awful, Especially in Eggers’ Brilliant ‘THE LIGHTHOUSE’
In the rundown of worst roommate habits, persistent flatulence has to rank pretty highly. But I can’t imagine even the gnarliest gas could possibly compete with the sour stench of stale pee stewing in a bedpan in a tight communal space. Which brings us to The Lighthouse, a film wherein, from the first moments, odors assert themselves. The celluloid reeks of old piss, beefy farts, caked-up spunk, “rotten foreskin”, man musk, and drinkable kerosene. This is a movie that would tear down the house in Smell-O-Vision. Fortunately, we do not have to endure its reek. Read More
With Phoenix’s Bleak ‘JOKER’, a Good Punchline Can Re-Write History
Trash is piling up in Gotham City. Plunged into a recess of political gridlock, societal malaise, and civil unrest, the city is steeped in refuge. Waste management services are on strike. Black bags of Gotham’s waste line the streets. Arthur Fleck counts himself amongst the discarded. He’s trash personified; tossed out alongside his creepy cackle. According to Arthur, he hasn’t had a happy day in his life. A simmering hotpot of childhood trauma, deep-set depression, daddy issues, hallucination-prone psychosis, sexual repression, and rage-onset tendencies, Arthur just ain’t a happy camper. And yet, he’s told to smile, to grin and bear it, to play nice. Read More
‘HUSTLERS’ Would Be a Guilty Pleasure, If It Weren’t Also Pretty Damn Great
This whole country’s a strip club. Or so says Jennifer Lopez’s hard-stripping, drug-dosing, cash-stealing Ramona. A stripper with a heart of mink fur, Ramona posits, “Someone’s got the money and the rest of us dance for it.” Her solution to this American ordeal is a brand of laissez-faire free market exchange: dress to kill, ensnare rich dudes, add drugs, run up their credit cards. Ramona and her merry band of clothing-optional pilferers trade in hitting the pole to hitting credit limits. And their gambit works. Skipping the whole lap dance flesh transaction and getting straight to the knock-out bling-bling money-please of it all, Ramona runs a crew of ambitious and unscrupulous ladies who take from the rich and give to themselves. Read More