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Subservience (2024)
AI Horror with a little Edge
A fairly entertaining upgrade from recent AI horror flops like AfrAId and TIM, propelled by electrifying scenes and Megan Fox's suitably cold, commanding performance as a manipulative AI nanny. The film embraces its over-the-top and slightly campy nature without slipping into cringeworthy territory. But it stumbles with a few poor editing choices and leaves some frustrating questions unanswered. While it ambitiously tackles themes of AI-driven labor replacement and fractured human connections, the messaging is too tangled to fully resonate. Despite its flaws, it's a wickedly fun, sharply provocative sci-fi riff on our deepest anxieties about the future of sentient AI.
Blink Twice (2024)
Big exhale after this one...
Zoe Kravitz's directorial debut, is a stylish and vicious social thriller that's got a lot going for it. The movie follows Frida, a young middle class woman invited to a tech billionaire's private island. What starts out as a romantic luxurious getaway quickly turns into a seriously messed-up experience filled with memory loss, mind games, and a whole lot of dark satire.
Kravitz proves she's got skill behind the camera, delivering a movie that looks great and balances humor with some very tense moments. The cast is solid, the dialogue's sharp, and there's plenty of cool visuals that keep you hooked. Kravitz is definitely more than just an actor trying out directing-she's got skills to back it up.
But here's the thing, despite all the style, Blink Twice stumbles under its own weight. The plot tries to tackle way too much in too little time-toxic masculinity, trauma, white privilege, cancel culture-you name it, it's in there. Because of that, the story gets messy, losing some of its impact. The pacing drags with repetitive scenes and foreshadowing that's so on-the-nose it almost spoils itself. By the time the big twist rolls around, you've probably already guessed it, and it doesn't hit as hard as it should. The ending undermines the faux feminist message that left me almost as disappointed as Saltburn. That is only the tip of the thematic issues... but someone more knowledgeable on theory should delve into it deeper.
If you've seen movies like Glass Onion, Triangle of Sadness, The Menu, or Don't Worry Darling, this one's gonna feel familiar. That's both good and bad-it's got a bit of that same vibe but also feels a little stale, even though it starts off strong. Had it come out ten or so years ago it'd be a phenomenon.
Still, Blink Twice isn't without its moments. It's got style, for sure, and Kravitz's dark tone might just help it pick up a cult following. The movie tries to flip into slasher mode in the third act, which sorta works, though as a horror snob I kind of wanted more grit and gore. Horror fans might dig it, but don't expect it to blow you away or come out feeling better.
It's clear that Blink Twice is well-made, but it's also very unpleasant. Watching it, I felt deeply unsettled and incredibly anxious. It effectively drew me into the fantasy alongside the characters. Zoe Kravitz shows she's got a future as a director, and maybe with a bit more focus, a sequel could really deliver. For now, though, Blink Twice is a mixed bag-worth checking out for its style and some cool ideas, but don't go in expecting a masterpiece.
Skincare (2024)
Nothing New
Standard thriller that tries to blend true crime and high fashion but stumbles in execution. The film's under-saturated visuals give it a drab look that feels out of place in the gaudy LA setting, while the bad ADR and mediocre acting make it hard to fully engage. The main character's self sabotaging decision becomes frustrating right off the bar, and the plot lacks much progression, leaving her largely unchanged by the end. Elizabeth Banks turns up the paranoia and maintains a hysterical persona for most of the film-though the performance quickly gets old. The music is a high point, with its stress-inducing synths that build tension, but even that can't save the predictable and rushed ending. It's an okay film, but there's no need to rush out to see it. If you're into true crime dramas, skincare, or LA fashion, it might be worth a watch when it hits streaming.
Strange Darling (2023)
Electrifying
Strange Darling is a mesmerizing psychological horror, told in a non-linear sequence that brilliantly enhances its tension and complexity. The film unravels in six chapters-4, 1, 5...and, surprisingly, this disjointed structure works in its favor, drawing you deeper into a gorgeous twisted nightmare.
From the get-go, this film doesn't shy away from violence, delivering lengthy and often brutal scenes that keep you on edge. Kyle Gallner's performance is a standout; his portrayal of The Demon is as hot as it is transformative, taking you on a rollercoaster of emotions as his character's layers get peeled back.
The Lady, played with eerie curiousity by Willa Fitzgerald, is one of the most complicated and fascinating characters in recent memory. Her personality is so compelling that it's difficult to take your eyes off her.
Visually, Strange Darling is exemplary for modern horror films. The deep neon blues reminiscent of Mulholland Drive and the vibrant pinks that echo Climax create a dreamlike atmosphere, beautifully complemented by Giovanni Ribisi's debut work as a cinematographer-nothing is wasted. The fact that it was shot on film adds a rich texture to the movie, vibrant saturation, making the horror elements strangely beautiful.
The film also delves into themes of kink and consent, handling them with a nuanced touch that's as intriguing as it is respectful. There's a dark romance at its core, exploring the toxic love, addiction, metal illness, and the desperate search for genuine connection. It's a story that resonates deeply with anyone who has experienced a loving relationship that took a sudden, disastrous turn.
The film's seamless flow between non-linear scenes is achieved through a rhythmic editing of its piano music and soothing vocals. This sing-song approach also enhances the film's hypnotic vibes. The relaxing original songs contrast shocking violence, amplifying the unsettling and delightfully gory moments.
Strange Darling is captivating with its rich colors, dreamlike cinematography, non-linear structure, and compelling characters. It is a must watch for anyone into indie horror films, but be careful to avoid spoilers.
Borderlands (2024)
A new kind of torture
Eli Roth, known for his sadistic horror movies, takes a different route with Borderlands. While this movie isn't a horror, it's torture to watch. He tried to capture the games' chaotic energy and vivid aesthetic but ends up being more disorganized than dazzling.
The movie starts with a rushed narrated montage, bombarding viewers with an overwhelming mix of colors and sounds. This sensory overload makes it hard to follow the storyline. I've played the second game and Tales from the Borderlands, but I'd imagine the start would leaving most people confused about what's important and what's just an attempt at humor.
While the vibrant colors stay true to the game's style, the aggressive and obvious CGI creates a chaotic visual experience that doesn't translate well to the big screen. The strobe lights and excessive close-ups during action scenes make it difficult to follow and not much fun to watch.
Despite its PG-13 rating, which likely led to the censorship of some good jokes, the film feels more like a PG kids' movie due to its excessive narration and exposition. The young lead's performance is annoying and fails to connect emotionally, especially with her character's uninteresting father issues.
Kevin Hart is miscast as a self-serious soldier, which doesn't play to his strengths. Cate Blanchett adds charisma to her role, but her quips fall flat amidst the film's chaos. Jamie Lee Curtis is present but unremarkable, while the villain lacks the necessary charisma or menace to be memorable.
Though there are moments of interest, like a surprising plot twist, they don't make up for the lackluster character development and thin storyline. The film's ear trauma, terrible ADR, and generally awful mixing only add to the annoyance, making it an assault on the senses and painful to watch.
Borderlands fails to compete with other post-apocalyptic video game adaptations like Fallout, which offers better CGI and character development. Released in the same season as Furiousa, it only highlights its laundry list of problems.
Deadpool & Wolverine (2024)
A Hilarious Satire of the Superhero Multiverses
The multiverse concept has been a staple in superhero films for a while now, but with Deadpool and Wolverine, it feels like a parody of the genre was long overdue. This film leans into its absurdity with the kind of sharp wit and humor that only Deadpool can deliver, making it a refreshing take on a trope that many believe has run its course.
From the start, Deadpool and Wolverine takes its time building momentum. The pacing may feel slow at first, but trust me, it's worth the wait. The jokes come fast and furious, with almost every gag hitting the mark. Some jokes are more memorable than others, but the overall comedic tone is consistent throughout. The film's fourth-wall breaks are the best we've seen in the trilogy, with Deadpool gleefully mocking both the multiverse and its tired conventions.
There is a bit of a pacing hiccup in the middle of the film, as the exposition drags on a little longer than it should. However, this lull is more than compensated for by the film's unapologetic fan service. The movie knows what its audience wants and delivers in spades, offering a buffet of references, cameos, and nods to both the comics and previous films.
While Deadpool and Wolverine steal the spotlight, I wish the side characters had more depth and chemistry with one another. There are moments where the supporting cast feels like mere props, lacking the dynamic interaction that could have elevated the narrative. This isn't a dealbreaker, but it leaves you wanting more from the talented ensemble that supports our two leads.
The ending is nothing short of unforgettable. The entire climax is a spectacle of chaos and hilarity, and the choice of song and its mixing is executed to perfection. It's a fitting conclusion to a film that revels in its absurdity and self-awareness, cementing its status as a parody of a dying genre.
Deadpool and Wolverine is a stellar superhero comedy, expertly satirizing the overdone multiverse concept while delivering a fun, engaging, and laugh-out-loud experience. It's a must-see for fans of the franchise and anyone who appreciates a good laugh at the expense of superhero tropes.
Trap (2024)
Fun Thrill Ride
If you're looking for a film that insists on delivering grand messages and attempt at a cerebral twist like M. Night's other movies, then Trap isn't for you. Instead, it's a wild, goofy rollercoaster ride filled with dad jokes, black comedy, and absurd thrills that don't require you to take anything too seriously. M. Night has taken a step back from his usual narrative seriousness, embracing a more carefree, silly style that ultimately makes the film a blast to watch.
At the heart of Trap is Josh Hartnett, who plays Cooper, a charming psychopathic serial killer. Hartnett thrives in the role, effortlessly pulling off costume changes, creative kills, and convincing lies that make him so engaging to watch. Despite being the villain, Cooper is a character you can't help but root for. Watching him outsmart the police and navigate each situation with mischievous glee is incredibly entertaining. The film's twists and turns keep you on the edge of your seat, and Hartnett's performance is a big reason why.
Cooper's character is given some depth with a backstory of childhood trauma, though it often feels forced and somewhat heavy-handed. Nevertheless, Hartnett's portrayal is so compelling that you'd want to see an entire TV series dedicated to his antics and clever escapes.
This is perhaps the most in tune I've felt with an M. Night film, primarily because he doesn't take himself too seriously here. From the very beginning, Trap throws suspension of disbelief out the window, replacing it with pure thrills and increasingly ridiculous situations. The film is a showcase of dad jokes and black comedy, with Shyamalan relishing in the absurdity and not afraid to look a bit silly.
One of the surprising parts of Trap is the role played by Saleka, one of M. Night's daughters. A gifted singer, her music was notable in Servant, and it's a solid addition here. Her performances in the film seem to pad the runtime, but rarely do they feel like wasted space. Whether Cooper is planning his next move or evading capture in the stadium, there's a consistent tension throughout the film.
Saleka plays a believable Gen Z influencer, reminiscent of a Taylor Swift-esque cult personality. However, her performance doesn't quite match the level of the other actors, particularly in tense, dramatic moments where her line delivery can be unintentionally funny. Yet, given the film's overall unseriousness, this doesn't didn't bother me too much.
While the trailer doesn't quite capture the film's absurdity, Trap starts strong with vibrant visuals and constant motion. However, it loses some momentum as it progresses, with less visually interesting shots and a decline in its initial energy. The climax, reminiscent of Knock at the Cabin, falls short of the tension and fun established earlier in the film. The twist is unexpected and poorly set up, with a rushed exposition dump that could have been handled more effectively with a flashback.
The film's tendency to spell everything out in explicit detail detracts from the fun of letting the audience fill in the blanks. A few egregious ADR lines towards the end add to the frustration, but Trail manages to salvage its final impression with a satisfying epilogue and a humorous after-credits scene.
A special mention goes to M. Night for casting a hot actor and catering to me. The character of a milk-hating, kombucha-loving, gay musician who hits on Cooper provides the best gay representation in any of his films, making me feel genuinely seen and appreciated.
Trap is a delightful departure from M. Night's usual overly serious fare, offering a silly, fun-filled ride that doesn't demand to be taken seriously. With Josh Hartnett's absolutely ludicrous performance and a commitment to embracing absurdity, it's a movie that's sure to entertain people who like comedy/horror willing to suspend every bit of disbelief. Just don't go in expecting a profound cinematic experience-this is all about enjoying the ride.
6.5/10.
RuPaul's Drag Race All Stars: Grand Finale Variety Extravaganza: Part 2 (2024)
Surprising
Overall, the final episode was a fine production. Each queen had a fair amount of time during testimonials, which allowed for some personal insight and reflection on their journey. However, I did have a few issues with the technical aspects: the framing during the judging was poor, there was noticeable shakiness during close-up shots, and the editing felt janky during the final lip sync. These production shortcomings were unfortunate, but the talent show performances definitely made up for them. Each act was brief but excellent, showcasing the queens' diverse skills and creativity. On the runway, their looks were equally matched, and I think it's fair to say anyone could've won that particular competition.
Now, am I happy with the win? Not really. I don't believe Angeria showed as much growth throughout the season as queens like Shannel, Jorgeous, and Plastique. These queens demonstrated significant evolution and development in their performances and personas. However, based solely on this episode's performance, Angeria's lip sync was captivating, and she commanded the stage with as much presence as Roxxxy. I would've loved to see Roxxxy win after she pulled out every stop throughout the competition, but it wasn't in the cards.
Additionally, Angeria wasn't as supportive as the other competitors. If you pay attention closely during the roast, rusical rehearsal, and other moments when the queens perform individually, you can see to the left of the stage that she often refuses to applaud and displays an angry or bored expression. There are even moments where she appears to be sleeping, or pretending, as retaliation to Roxxxy cutting her off. The production didn't highlight these moments or provide testimonials because Angeria might have offered dishonest explanations for her juvenile behavior.
While I was surprised that Angeria won, this episode was fine overall. The competition was fierce, and the talent was undeniable, making it a fitting conclusion to a dramatic season. However, I can't help but feel disappointed with the outcome, as I believe a more deserving queen should have taken the crown.
Disciples in the Moonlight (2024)
Brett Varvel Can't Act
Barring The Emoji Movie, this is the worst thing I've seen in a theater.
Brett Varvel cannot act, always making the same constipated expression regardless of the emotion he's supposed to convey. The directing feels like a sitcom, with repetitive shot reverse shots and the same establishing shots used repeatedly across four bland, suburban sets. Occasionally, when the Christians are evading the evil secular government, we're treated to shadowy shots of forests and fields so dark you can't tell who's who or where they're going. The editing is a mix of mind-numbingly simple sequencing and incoherent transitions, all overseen by the leading actor himself, which at least makes it clear who to laugh at. Even if you believe being an American Christian makes you an oppressed minority, you'll have a hard time taking any of this corny film seriously.
The First Omen (2024)
A violent, disturbing, and stylish evolution
One the scariest, grossest, most disturbing movies I've seen from the past decade. Schizophrenic editing and camera maneuvering that reflects the protagonist's declining state of mind. It's anxiety inducing in a way that made me fall in love with Rosemary's Baby. Nell Tiger Free is a force of nature, it was wildly different this performance was from Servant.
The neverending plot twists and payoffs in the end leaves plenty of rewatch value. Although the ending sets up a sequel, it stands on its own as a well acted, beautifully shot descent into madness. Each callback to The Omen in terms of kills and phrases added more meaning to the story, rather than uncharitable comparisons. The First Omen is an evolution of many supernatural demonic horror tropes, and a step in the right direction for the genre as a whole.
Tuesday (2023)
Well-intentioned but predictable
Well-intentioned but predictable and a little too silly to sell a serious grief metaphor. The creative direction of the second half sent the melancholy pacing into overdrive. The story replaces genuinely well acted mother-daughter dialogue with pondering. But all throughout the film, misplaced jokes seemed forced into the script. The computer generated bird in particular was very hard to take seriously due to the annoying voice acting and cringeworthy jokes.
The film reminds me of "Sometimes I think About Dying," which I'd recommend for a more consistent drama that deals with depression in a subtler way.
Midsommar (2019)
Ari Aster's Best Film
Midsommar's director's cut in imax is a visually stunning film, made even better by the big screen and immersive sound design. The movie's clean and graceful horror style has its quiet, creepy moments but also goes wild when it needs to. Ari Aster nails the subtle expressions and unspoken words, making it eerie at first and darkly funny on repeat watches. Watching clueless Americans mess up in a foreign culture with creepy rituals is both funny and unsettling, though sometimes the film feels a bit too neat. Leaning into the absurdity more could've made it even better. It's still my favorite of his horror movies and, like Hereditary, it gets better the more you watch it.
MaXXXine (2024)
Too much, yet not enough
I absolutely love X for its refreshing, sleazy take on classic slashers, mixed with goofy, self-aware humor. Sadly, Maxxxine just doesn't measure up. Ti West seems lost, with no clear direction, tension, or relatable characters.
Mia Goth's star power carries the film, but the movie itself just isn't worthy of her performance. My initial worries about the big cast and subgenre shift turned out to be spot on-there are way too many characters, making it feel like Maxine is suffocating in her own movie. Where X and Pearl cleverly wove exposition through subtle references, ambient radio, and background details, Maxxxine awkwardly shoves it in through two pointless cop characters and way too many newscasts.
On top of that, the kills are disappointingly tame. Aside from one notable scene at the end, the horror feels weirdly PG-13, which really takes away from the impact. There are a few funny gags, but the movie doesn't give them enough room to breathe, so they fall flat. It's made worse by the repeated callbacks to X, whether in the form of trauma or visual cues.
The ending is contrived and feels more suited to a Bad Boys sequel. The twist is barely foreshadowed, making the reveal laughable instead of shocking. In the end, Maxxxine tries way too hard to be taken seriously but just doesn't hit the mark. I really wish it had leaned into its goofiness, which could have made it a lot more fun and engaging.
The Watchers (2024)
Visually appealing but underwhelming story
Did you know M. Night Shyamalan's debut feature wasn't The Sixth Sense? He actually had two other movies that didn't do well at all before his big hit. This comes to mind when watching his daughter Ishana's debut, The Watchers. It's a fine start, though she might be following a bit too closely in her father's footsteps with a reliance on unnatural dialogue and a shocking twist.
The Watchers leans more into creepy vibes than outright scares. It won't haunt your dreams, but it'll definitely give you the chills. Personally, I dug the Twilight-esque color grading; it added a cool vibe to the movie. However, the excessive ADR felt slapped together, and there were some glaring continuity errors with people and objects moving between shots.
The first quarter of the movie is genuinely tense, with mysterious creatures lurking in the shadows and eerie sounds coming from the forest, creating some solid suspense. Unfortunately, a lot of the movie could've been trimmed without losing anything important. It often feels like it's going in circles, repeating the same stuff without pushing the plot forward. Despite all of the red herrings and elaborate setup, there's little payoff by the end.
I didn't find the initial reveal as disappointing as others did, though the CGI looks dated, like a 2015 video game. The inclusion of Irish folklore is cool, but the movie grinds to a halt for lengthy exposition several times. This would've been unbearable if not for the strong performances by the cast. Unfortunately the script is filled with unnatural dialogue. While this might add to the creepy atmosphere, it sometimes made me chuckle at the silliness.
The 25-minute epilogue could have easily been condensed into the third act, as it drags the movie out unnecessarily. While the movie starts strong with great tension-building, it eventually loses steam due to thin characters and dumb decisions. It's frustrating when characters forget crucial info just to serve the plot. Ishana has potential and could soar with better material, but this movie isn't quite there.
In a year with horrors like Imaginary, Night Swim, and a dreadful Strangers remake, The Watchers is far from the worst, but it's not among the best either.
Yellowjackets: Storytelling (2023)
Poor
The writing takes a sharp decline in this episode.
It is apparent from the start that we are in for quite a ride.
Walter suddenly killing Detective Kevin, not being shown, was thrown out of left field and an embarrassing way to kill off a character. But not as embarrassing as Natalie's accidental death. Misty killing Natalie with a random needle, which was not shown up until now, came off as a contrivance to kill off a main character. This was a shabby attempt to meet the climax of last season.
Lastly, the cabin spontaneously combusting was the most obviously contrived twist. No set-up, just a canned ending to hint at story's future progression. We can assume this was the original planned ending for the season because the cabin was becoming a tiresome setting.
Committing Lottie to a mental institution was in the best interest of everyone but a little frustrating no one tried to do it sooner.
Hopefully there will be explanations for the mysterious tree symbols, Javi's two-month hiding spot, and Taissa's alter ego in the third season.
Special mention to Taissa's wife who was entirely forgotten after adult Van's introduction. Wishing her a swift recovery.
Night Swim (2024)
Poltergeist but lame and in a pool
Worst horror cliche: cute pet dies. Pretty sure the cat was cgi...
best horror cliche: possessed character gets ghost powers.
Worst contrivance: irresponsible parents buying a home with a pool and not learning CPR.
Best fight: Kerry Condon, fighting against an American accent. Praying she got a bag.
Worst actor: many options but I'll go with Wyatt Russel sleepwalking through his role.
Best part of the production: soundtrack, Robert Eggers' composer! The waterproof make-up is second.
Worst scene: marco, polo. Dumb POV shots and sus camera angles ruin the jump scares.
Best scene: pool party because it finally capitalizes on the fear of drowning in a pool so crowded that no one can see you.
Most egregiously abandoned subplot: a toss up between the son's struggle to live up to his baseball star father's expectations, or the daughter's romance with the swim team guy.
Best line: "THIS POOL IS THE BEST THING THATS EVER HAPPENED TO ME!"
worst leap in logic: stretching a 4 minute short about a haunted pool into a feature length film.
You Are So Not Invited to My Bat Mitzvah (2023)
A Sandler Family Affair
"You Are So Not Invited to My Bat Mitzvah" is a delightful Netflix gem, skillfully navigating the coming-of-age genre with humor, cultural richness, and family dynamics. Sunny Sandler's authentic portrayal of Stacy Friedman, a 13-year-old grappling with teenage confusion and spiritual exploration, is a standout performance. Directed by Sammi Cohen and penned by Alison Peck, the film strikes a vivacious tone, blending humor with profound themes, all while maintaining its buoyant charm.
The film's exploration of spirituality and Jewish culture is enriched by characters like Rabbi Rebecca, played by Sarah Sherman, and the Bat Mitzvah ceremony, which seamlessly weaves themes of atonement without being preachy. The ensemble cast, including Samantha Lorraine and Luis Guzman, breathes life into their characters, making it a heartwarming Netflix original that balances the particular with the universal. "You Are So Not Invited to My Bat Mitzvah" is a must-see comedy that skillfully blends humor and cultural depth, leaving a lasting impression on its viewers.
The Nun II (2023)
Lacking in Nun
In Michael Chaves' direction, The Nun 2 revisits the ominous presence of Valak and its reign of terror within the Conjuring franchise. It brings back familiar characters from the 2018 original, including Sister Irene and the possessed Frenchie. However, despite some intriguing aspects, the film struggles to maintain its momentum and fails to provide a memorable horror experience. Set in a 1950s Catholic boarding school in France, the plot revolves around Sister Irene's investigation into a series of gruesome murders across Europe and her growing suspicions about Frenchie's connection to Valak. Regrettably, the movie's predictable pacing and deviation from its core premise hinder its potential to be truly gripping. The scares, primarily relying on jump scares, lack the depth that made the first film so captivating. While the film introduces interesting elements such as Saint Lucy and a holy relic, these aspects remain underdeveloped, and the final revelation feels nonsensical. Furthermore, Frenchie's character development falls short, and the plot seems to assume that viewers have forgotten the events of the original film, diminishing the impact of key revelations. Overall, The Nun 2 suffers from predictability, with viewers often ahead of the characters in understanding the unfolding mystery. While it maintains the Gothic aesthetic characteristic of the franchise, it struggles with narrative balance, heavy-handed exposition, and a disruption of established continuity. While it does offer a few creative moments and scares, the film primarily caters to those seeking additional details about the Conjuring universe, ultimately falling short of delivering a truly terrifying experience.
Gran Turismo (2023)
Generic Underdog Story
Neill Blomkamp's Gran Turismo is a fusion of real-life racing and gaming, showcasing Jann Mardenborough's journey from gamer to professional racer. The film's unusual but fitting tone combines exhortations and motivational phrases with sweet romance and humor, all set against the backdrop of high-speed racing action.
While the racing sequences impress and Archie Madekwe's portrayal of Jann shines, the film falls into sports movie clichés and lacks depth in character development. It skims the surface of corporate aspects in motorsports, emphasizing visuals over substance. Gran Turismo offers thrills for fans of the game but doesn't break free from formulaic storytelling, settling as a competent but forgettable entry in the motorsports cinema genre.
Birth/Rebirth (2023)
Daughter of Frankenstein
"Birth/Rebirth" is a psychological horror film that explores the consequences of playing God and the ethics of medical advancements. It follows two mothers, Rose and Celie, with contrasting perspectives on life and death. Their lives intersect when Celie's daughter dies, and Rose's experiments to bring the dead back to life become relevant. The film delves into the emotional impact of this resurrection on both mothers, raising questions about the boundaries of maternal instincts. It features unsettling and graphic scenes, drawing inspiration from David Cronenberg and classic horror literature. Laura Moss approaches the concept of body horror and extreme maternal instincts from a feminist perspective, leaving a lingering impact without relying on jump scares.
Landscape with Invisible Hand (2023)
Half Hearted Satire
"Landscape with Invisible Hand" is a 2023 satirical sci-fi comedy that attempts to critique capitalism, economic exploitation, and class divisions through interactions with quirky alien beings called the Vuvv. The film's satire occasionally teeters on the edge of parody as it portrays the Vuvv as whimsical and amusing visitors rather than imposing invaders. The story follows teenager Adam Campbell in a world where the Vuvv have left humanity financially distressed and creatively stifled. While the film has an inventive premise, it struggles with an overabundance of ideas and tonal inconsistency. The characters are emotionally detached, making it hard to connect with them. Despite its promise, the film often falls short in delivering a deep exploration of its themes. The portrayal of the Vuvv verges on becoming caricatures, and the film's tonal shifts disrupt the overall experience. However, it retains an odd charm and occasional moments of amusement, making it worth a watch for those open to its quirky journey.
Strays (2023)
Doggie Doo Doo
"Strays" is a comedy film that disappoints with its repetitive and uninspired humor, relying heavily on shock factor related to dogs' bodily functions. It tries to stand out but feels like a desperate cry for attention, lacking wit and depth. Despite talented actors, it fails to deliver meaningful laughs, opting for excessive profanity and explicit discussions. The film squanders its potential for comedic gold, especially with Bug's character. Visually, it's unimpressive, lacking creativity, and it doesn't effectively explore the concept of dogs talking and misunderstanding the human world. It falls into an awkward middle ground, not appealing to adults or children. Overall, "Strays" is a forgettable comedy that doesn't live up to the director's and writer's previous works and suffers from its reliance on live animal actors.
Cobweb (2023)
More than the sum of its parts
Director Samuel Bodin manages to evoke the emotions of a troubled young boy within a gothic setting in "Cobweb," a horror film that delves into the haunted house trope combined with childhood wonder. While the narrative struggles, the film excels in its visual and audio aspects, boasting a shocking third act that elevates it to a must-watch level. Woody Norman's portrayal of the vulnerable Peter shines, supported by strong visual storytelling that utilizes shadows and silhouettes to create an atmosphere of impending dread. Cleopatra Coleman's portrayal of Miss Devine adds levity, but the film occasionally falters in character development and maintaining her potential. The haunted house setting is effectively brought to life, becoming a character itself, and the third act delivers electrifying twists. Although the film doesn't achieve greatness due to some narrative shortcomings, it remains a commendable effort with memorable performances and captivating moments.
Only Murders in the Building: The Beat Goes On (2023)
New suspects
In the latest episode of Only Murders in the Building's third season, titled "Grab Your Hankies," the murder mystery surrounding actor Ben Glenroy's death unfolds further, revealing a complex web of suspects. Meryl Streep's character, Loretta, emerges as a prime suspect due to her history of hostility with Ben. The episode explores potential suspects Tobert and Kimber, highlighting their characters' roles. As Mabel investigates, she encounters Tobert in Ben's penthouse, leading to intriguing chemistry between them. Tobert confesses to having crucial footage of Ben's final moments, implicating Kimber due to a tense conversation and jealousy. The episode artfully balances Loretta's audition and musical involvement, deepening character dynamics. The trio's usual banter takes a backseat, allowing individual pursuits and fresh dynamics. Despite departing from the high-energy premiere, the episode provides character development while maintaining entertainment value.
Only Murders in the Building: The Show Must... (2023)
Really promising start
The first two episodes of season three are out and it's off to a great start! New players are introduced stage actors and potential suspects of the murder of their lead actor, Ben. Paul Rudd and Meryl Streep join the cast with impressive performances. Episode 1 and 2 fluctuate between present and four months before the opening night of Oliver's play Death Rattle. Oliver is struck by Streep's character, Loretta and casts her in his play. Loretta is a struggling actor who has never made it big, romance seems to start between the actor/director. Speaking of romance: Joy (Andrea Martin), Charles' makeup artist and new love, has moved in with him. This poses a challenge for Charles because he's absorbed in the role as detective in Death Rattle but wants to spend time with Joy. We learn Mabel is going to move out soon since her aunt is selling her condo, which makes me wonder if this is her last season.
As in past seasons of the series, season 3 continues to offer an abundance of suspects, humor, investigation, clever writing, and charm.