Film Reviews, Interviews and Articles
1992’s Candyman embodied the idea that good horror movies touch on greater social issues of our times. To an almost unwavering degree, the horror film spoke to racial superstition, director Bernard Rose using the projects as a backdrop to deliver an underrated supernatural slasher with something real on its mind. Leave it to Jordan Peele to pick up the ball nearly 30 years later and run with these ideas.
The idiom of the wolf in sheep’s clothing is a particularly terrifying one. By virtue of his unassuming appearance, the predator becomes non-threatening. He can hide in plain sight and hunt with all the privilege of inconspicuousness. If looks could kill. The only thing worse than a predator in sheep’s skin is one with no skin at all. Those who lurk not in the shadows, but in the light of the lord. Luring the unsuspecting into their hidden traps. Predators do live among us but thankfully they are visible. With visibility comes consequence, accountability. The hunters have to at least make an effort to conceal their predatory behavior. We can, at the very least, see their fangs. And we can fight back. Read More
In the same vein as an early Coen Bros crime yarn or a blood-stained Jeremy Saulnier shoot-em-up, Matthew Pope’s Blood on Her Name is a homegrown working-class tale of bungled domestic criminality and the hefty price of conscience. With similarities to homegrown crime fiction like Blue Ruin, Cold in July, Calibre, and A Simple Plan, Pope’s Blood on Her Name begins with accidental death and quickly spirals beyond the realm of control. Read More
I knew from the very onset that Onward was going to work my tear ducts like a German milkmaid squeezing at a bovine’s teat. It didn’t matter that the blue teenage elves looked more like the brainchildren of Dreamworks than Pixar, or that some of the comedy was a bit low-brow and slapstick, or even that Onward settles more in the mid-to-lower tier ranking of the once-unflappable animation studio’s filmography, this movie was always gonna turn me into a mushy adult sniveling away in a dark theater. And that it did. Read More
Bill Murray, Adrien Brody, Edward Norton, Willem Dafoe, Saoirse Ronan, Saoirse Ronan, Jason Schwartzman, Timothee Chalamet, Frances McDormand, Benecio del Toro, Bob Balaban, Jeff Goldblum, Elisabeth Moss, Tilda Swinton, Lea Seydoux, Owen Wilson, Henry Winkler, Rupert Friend, Jeffrey Wright, Tony Revolori. When you have Wes Anderson behind the camera, you know the cast is gonna be God-status but my lord is The French Dispatch absolutely stacked. This could quite honestly go down in history as one of the very best casts in history and they’ve joined Anderson to tell the tale of a fictional American newspaper in a fictional French city. Read More
I’m only going to write out this whole title once so enjoy it while it lasts. Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) is a movie that’s as excessive, unedited and utterly ridiculous as its title; a go-for-broke, R-rated, comic-book-inspired joyride through the most colorful, femme fatale-populated corners of the DC Extended Universe. Led by a cutesy head-butt of a performance from superstar Margo Robbie, Birds of Prey is a do-over of sorts for the much-maligned Suicide Squad, preserving its annoying pinball storytelling structure (the editing in this movie often stops momentum dead in its tracks) but delivering on the promise of unruly antiheroes actually being quite a bit of fun to watch. Read More
In 2010, Saw VII was touted as “The Final Chapter” only for a Jigsaw movie to emerge 7 years later. As the Iron Islanders say, what is dead may never die and in 2020, a franchise twice put to bed reemerges once more to concoct elaborate death machines. In the sparse first look at Spiral, Chris Rock plays a detective joined by a rookie partner played by Max Minghella. Playing Rock’s father, Samuel L Jackson pops in to say “motherfucker” because Sam Jackson’s gotta Sam Jackson. Spiral looks to direct the grudge and gore a different direction this go-around the circular saw, with the intended target (at least in this first glimpse) to be police officers rather than people who have bungled up their lives in the eyes of a deranged cancer patient. Could make for an interesting fresh take or could be yet another rehash of mindless torture porn. Read More
Austrian screenwriting and directing duo Veronika Franz and Severin Fiala either have terror children or were terror children. They love staging a good the-children-will-be-the-death-of-us yarn, pivoting from a story about two young mischievous twins torturing their mother (who’s recently undergone facially reconstructive surgery and, consequently, her children now refuse to believe is actually their mother) in their celebrated German-language debut Goodnight Mommy to a tale of two young mischievous siblings torturing their soon-to-be stepmother in their English-language horror show The Lodge. Read More
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
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