The original may not be the best, but it remains the most cinematic of the series.
For fuck’s sake, even I don’t know what I’m talking about.
An alien presence turns wives into husband-killing monsters in writer-director Leigh Janiak’s feature debut, the indie science-fiction horror film Honeymoon (2014). In their native urban environment (likely New York City), newlyweds Bea (Rose Leslie) and Paul (Harry Treadaway) seem like an average (including their quirks) yuppie couple. When they go from city to country (crossing the border into Canada in the process), the ties that bind — along with the gender roles defined by contemporary heterosexual marriage — go out the window when an eerie light shines into it, focusing on new wife Bea.
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.
I viewed Arrival on November 20, and am still not sure how I feel about it.
Hellhole is a glorious mess, albeit one rich in the currency of absurdity.
Morgan leans more in the direction of Blade Runner’s kinetic action scenes than Ex Machina’s wandering philosophical asides.
Ballard creates cold, sterile worlds that are driven by concepts instead of characters, but he’s strong enough a writer that his narratives thrive with intellectual possibility as a result.
Should filmmakers just leave certain books alone?
Since their gradual emergence in Western popular culture over the period from the 1960s to today, the memes of “finding yourself” and being “in a relationship” have become perennial social preoccupations. The Lobster (2015) skewers both through reducing them to absurdity. So, what’s left? Unfortunately, the film seems to run out of ideas at this point. Is THE LOBSTER still worth a watch?