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Sundance ’22: Cringe Turns Utterly Chilling in Knockout Psychological Horror ‘SPEAK NO EVIL’

There are certain moments in life when everything in our body tells us to run away from a situation but we still hesitate because we want to be polite. Maybe it’s a weird conversation with a glassy-eyed drunk we got trapped in at a fundraiser. Or a flirtation turned suddenly uncomfortable with some girl we met at a bar. We don’t want to hurt the feelings of strangers. We stay out of some bizarre (and overly trusting) Western societal norm. We afford the benefit of the doubt. Sometimes to those who have not earned it. In Speak No Evil, all kinds of instinctual alarms go off but no one is paying attention to their instinct. They’re playing right into the hands of societal expectation – and then they are exploited. Read More

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Sundance ’22: ‘FRESH’ a Horrific Meat-Cute That Takes a Bites out of Modern Dating

A one-of-a-kind allegorical delicacy, Fresh revels in taboo subjects to poke fun at the stomach-churning appetites of the modern dating world. A delirious mash-up of cheesy romance and body horror shlock, the debut film from Mimi Cave begins in deliciously grotesque fashion, showing flashes of both American Psycho and Martyrs as her devilish meat-cute puts a dark spin on the idea of “finding the right guy”. Overnight, chemistry and flirtation turns to imprisonment and cannibalism, giving new meaning to the phrase “eating butt.”  Read More

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‘SCREAM’ Takes a Stab at “Requels” with Deadly Precision 

Scream is back. And with a new Ghostface (or two) comes a biting deconstruction of not just the long-standing slasher franchise, or the nature of “requels” (a term coined in this very film), or the horror genre in general, but the movie industry writ large. Many films of recent years have tried to capture the imagination of audiences by commentating on their own storied legacy – most recently with both The Matrix: Resurrections and Spider-Man: No Way Home – but none have done it with quite as sharp a wit or a curvaceous a blade as the most recent Scream. Tapping into the meta repartee that franchise architect Wes Craven approached the material with from the very get go, this fifth installment of the 90s-born slasher whodunnit is as razor-sharp and bloody glorious as ever. Most importantly, it’s just a hell of a lot of fun.  Read More

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Spielberg’s ‘WEST SIDE STORY’ Remake A Handsome, Emotionally Flat Spectacle 

Handsomely made but emotionally flat, West Side Story as told by blockbusting king of the box office Steven Spielberg plays like a slick, overproduced cover album. The songs are all there but they’ve been blown out to oblivion by overproduction, chasing technical mastery but never stopping to consider the why of it all. Like when a favorite band finally hits it big and subsequently loses the very sound that made them unique and your favorite band in the first place. There are no imperfections and, in effect, no spark. One would sound silly calling it “selling out” but there’s a similarly disappointing energy that washes over the viewer expecting a vibrant new take on timeless material only to rub up against a flashy reskin of a classic, sans any discernible new perspective. Read More

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‘RED ROCKET’ is Magic Mike Meets Joe Dirt A.K.A. It’s Glorious

Washed up porn star Mikey Sabre (Simon Rex) arrives by bus back in his hometown of Texas City, Texas. He’s beat up and sans belongings, bruised from some unseen brawl but still so motormouthed you’d think he were riding high on the Colombian marching powder. But Mikey doesn’t have the kind of money to fund such a habit. In fact, he has no money to his name. Which is why he’s in Texas City, Texas. Mikey hasn’t quite come crawling back to his estranged meth-head wife Lexi (Bree Elrod) to rekindle their extinguished flame but he does need to crash on her couch for a bit while he gets his affairs in order. If she’ll let him. Read More

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‘HOUSE OF GUCCI’ A Funnier Than Expected But Tedious Tale of Fashion-Forward Betrayal 

All empires inevitably crumble. But not all with such lack of style. House of Gucci is the story of one such fading empire as treachery, betrayal, and greed drive a wedge between the preeminent Italian family fashion business. That wedge is named Patrizia Reggiani (Lady Gaga), a commoner from a trucking family who worms her way into the Gucci family after capturing the attention and affection of Maurizio Gucci (Adam Driver) at a nightclub. A lawyer by trade, Maurizio is not wrapped up with the family business but his romance with Patrizia takes foot and her business aspirations grow so too does his involvement in the Gucci brand’s future. All sense of familial loyalty is thrown by the wayside as ambition turns to avarice and blood becomes the new family currency. Read More

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The Ghosts of Showbiz Past Haunt ‘LAST NIGHT IN SOHO’

Dashed dreams and grubby hands reveal themselves to be the stuff of Edgar Wright’s nightmares in the stylish throwback Last Night in Soho. A ghostly haunter with one foot in the modern zeitgeist and one squarely in raging 1960’s London, Wright’s first foray into the horror grapples between serious social horrors and pure genre thrills, delivering a thoroughly entertaining slice of Giallo exploitation that warns of the temptation of nostalgia. Read More

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Vile Men Are Always the Heroes of Their Own Story in Medieval Court Drama ‘THE LAST DUEL’

The Middle Ages, a vast period of cultural and intellectual bankruptcy. A thousand years of decline spent spilling blood in the soil over God, king, and country. The hoi polloi, excited by the rage of religious fervor, cheered for bread and circus and no circus promised more drama than a duel to the death. This is where we find ourselves at the start of Ridley Scott’s latest sword and sandal epic, The Last Duel, with two men, each believing God and the truth is by their side, equipping plates of armor and squeezing into chainmail, squires readying their steads, prepared to square off in an arena until one man claims the other’s last breath. All to prove that their truth is the truth. There’s no better way to prove veracity than by bloodletting – under God’s benevolent eye. Read More

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Psychosexual Fever Dream ‘TITANE’ Pushes All the Right Buttons

It’s worth prefacing my thoughts on Titane by reminding readers that Julia Ducournau’s Raw was my favorite film of 2017. Darkly funny and completely uncompromising, that cannibal coming-of-age horror sunk its teeth in deep to unspool a surprisingly thematic story of sexual appetites, family politics, and genetic disposition. I loved every minute of Ducournau’s irreverent storytelling; her evident hunger to show up fully formed with her debut film, and her reveling in the national bloodlust that is the French New Extremity movement revealed a filmmaking talent of untold potential. Read More

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A Gambling Oscar Isaac Bets on Salvation in Stoic Drama ‘THE CARD COUNTER’

Nihilism pairs naturally with playing cards semi-professionally. Those hitting the poker circuit know this. The most improbable river (the fifth card in a game of Texas Hold ‘em) can render the best hand and best player a loser in the wings, drawing dead. They just don’t know it yet. It seems that odds are meaningless against the tides of fate. Cold, calculating, and reductive, the best poker players are those who remove the emotional element entirely, stoic ice statues playing odds, preying on the faintest whiff of weakness. The Card Counter, the newest film from auteur Paul Schrader (First Reformed) is a nihilistic meditation on the impossibility of redemption, as a broken military man turned gifted gambler wrestles with his demons around a card table. Read More