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NIGHTSTREAM 2020: Atmospheric Horror Game Adaptation ’DETENTION’ Left Me Cold

John Hsu’s Detention gives a horror movie makeover to Taiwan’s darkest moment in history. Taking place during the country’s period known as the “White Terror”, a 38-year period of martial law where 140,000 alleged “political dissidents” were jailed and countless others executed by the state, Detention attempts to mix dark fantastical elements in with real-world political histories much like Guillermo del Toro did with the Spanish Civil War in Pan’s Labyrinth. The end result here is much, much less effective.  Read More

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NIGHTSTREAM 2020: Rancid ‘HUNTED’ A Sadistic Episode of Pointless Cruelty and Unchecked Misogyny

French writer-director Vincent Paronnaud’s (Persepolis) fetid attempt to pair art house with meat grinder results in one of the worst films of the year: Hunted. An impotent rape-revenge fairy tale, which borders on snuff with its malignant streak of cruelty and misogyny, Hunted takes form as a woman (Lucie Debay) is chased through the woods by two psychopathic men.  Issuing threats to “f*ck her to death”, the sexually violent antagonist (played with deranged glee by Christian Bronchart) spends the feature screaming at our heroine that she’s a “f*cking whore” or “f*cking slut”. Charming.

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SUNDANCE 2020: Scattershot ’THE NOWHERE INN’ A Meta-Movie About Celebrity Expectations

Singer St. Vincent (real name Annie Clark) enlists close friend and filmmaker Carrie Brownstone to make a documentary about her biggest tour yet. The trouble is: she’s incredibly dull off the stage. She does her crunches, snacks on farm-fresh radishes, plays Scrabble. She is no feral rambunctious rockstar. Her Smell this is not. Read More

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SUNDANCE 2020: ‘RELIC’ and the True Horror of Senility

Relic, an old-folks-being-creepy offshoot of midnight squirmer, explores the true-to-life horrors of a matriarch’s deteriorating mental state. Dementia is scary enough before you add in family curses, labyrinthine structures, and ghouls under the bed and in her impressive debut, director Natalie Erika James filters her own traumatic experience confronting her grandmother’s Alzheimer’s through the prism of horror cinema, allowing for an emotionally rich and impressively eerie slice of dramatic horror that speaks to real-life terrors.  Read More

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SUNDANCE 2020: ‘POSSESSOR’ Is A Blood-Soaked Murder Inception That Continues The Cronenberg Legacy 

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

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SUNDANCE 2020: Amusing ‘DOWNHILL’ Remake Assumes American Stance, Lets Comic Giants Ride

A remake of the critically-acclaimed Swedish drama Force Majeure, Downhill is kind of exactly like most American remakes of critically-acclaimed foreign dramas: amusing but unnecessary. A blue-square redo of a double-black-diamond story. With the hard-packed dual casting of Will Ferrell (who’s better here than he’s been in years) and Julia Louis-Dreyfus (who also produced), the dramedy from The Way Way Back co-writers and directors Nat Faxon and Jim Rash borrows the premise and some of the critical breaking points from Ruben Östlund’s film but also finds room for new traumas and dark comedic moments to unfold. Read More

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SUNDANCE 2020: Character-Driven U.K. Horror ‘AMULET’ Takes Time But Packs Punch

An atmospheric slow burn that has no qualms really stretching out the burn, the first feature film from director Romola Garai is a deliberately-paced, well-acted and artful horror chamber piece fastened to a real whopper of an ending. Movies live and die by their ending; a great ending can make an otherwise okay movie great and a terrible ending can make an otherwise great movie terrible. This, fortunately, is a case of the former. To Garai’s credit, she absolutely nails the ending, delivering the kind of capstone that makes you go back and reconsider the rest of the film through new eyes and newly discovered context. My mind was racing trying to piece together things as the credits began to roll, certain things not snapping into place until my drive home. (You’ll have to excuse the slower processing power of my brain at the time. It was 2AM after all.)  Read More

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SUNDANCE 2020: Benh Zeitlin’s Gritty Pan Redux ’WENDY’ A Gorgeous Hot Mess 

Benh Zeitlin joined a very exclusive club of first-time filmmakers in their 20’s to receive an Oscar nomination for Best Director when his debut Beasts of the Southern Wild broke out. In the years since earning the Grand Jury Prize at Sundance and an Oscar nod to boot, Zeitlin withdrew from the spotlight, whittling away to rebrand the Peter Pan story with his signature Zeitlinisms. Retelling the James Matthew Barrie fantasy with all the semi-grounded, semi-gritty magical realism that propelled Beasts, Zeitlin paints himself into a bit of a corner, refusing to grow up as a director.  Read More

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SUNDANCE 2020: Humanist Spy Thriller ’IRONBARK’ Is On a Mission to Move You

I’m calling an early shot here: if there’s one movie out of Sundance 2020 that stands a decent shot at a Best Picture nomination almost a year from now, it’s very likely Ironbark. The Cold War espionage thriller takes a classical approach to its telling, leaning into familiar biopic/historical nonfiction tropes, while viewing events through an extremely humanistic lens.  Read More

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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