With A Cure for Wellness, Verbinski goes all out in an epic-length exploration of madness and the macabre.
Remember those creepy PSAs for radon that aired in the late ’80s? That’s what I Am Not a Serial Killer most resembles.
THEY LOOK LIKE PEOPLE (2015, dir. Perry Blackshear) focuses on the social alienation of young urban professionals. All of them “look like people”. All of them are also “aliens” — they’re all alienated from each other. But only one of them can say that this situation is beyond his/her control.
If you look beneath the relentless, miraculous onslaught of avant-garde-cranked -to-11 style, the plot of Hausu makes sense. Kind of. I think.
The central mystery of SPELLBOUND revolves around two questions raised in the film’s first act. Two later sequences are key to understanding this mystery.
How might a female writer-director envision a revenge-themed film? Andrea Arnold’s RED ROAD (2006) is one answer.
“What Have You Done to Solange?” unspools a continuous pretzel-twist of a narrative, but its greatest asset may be how plausible it all feels.
The teenage characters of Megan is Missing could teach the hellraisers of Heathers lessons in how to achieve Antichrist levels of cruelty.
As far as the plot goes, House on Sorority Row did it first, and with a more endearing bizarro spirit.
THE WITCH is a film about impression. There are scenes where you aren’t sure what you are watching, or what they mean. It is heavy with symbolic images. The full effect isn’t felt until the film is over and you begin putting everything together. It’s disturbing and stays with you. Like all folk tales, it is meant to be reexperienced, each time piecing out something different.