I give this movie the highest praise by saying I hope they make a sequel. Hell, I really hope they make a prequel AND an origin story. And I usually hate origin stories.
On one level, Peter Bogdanovich’s first feature film, TARGETS (1968, prod. Roger Corman) is about a shift in horror cinema. In the late 1950s, gothic/supernatural and extraterrestrial monsters started to give way to the monsters of everyday life. TARGETS is a metaphor for this change in the major source of cinematic horror.
It’s Lord of the Flies with suits and ties.
While TROUBLE EVERY DAY’s mix of sexuality and violence is meant to shock, its almost clinical detachment at other times alienates the viewer. The end result is to create an amoral world from which there is no way out — for both characters within the film and spectators in the audience.
James McAvoy’s character is both the best and the worst thing about SPLIT, which was both written and directed by Shyamalan.
Innocuously tragicomic at first, this indie film escalates first to the darkly comic and finally to the abjectly horrific.
The strength of PET is in how it takes a predictable story in an unexpected and disturbing direction.
The implication of its title is that the movie SCHERZO DIABOLICO is a diabolical prank. But who is its devil and what is the joke?
The metaphor of the Golden Buddha is a humorous bit of Hollywood lore. Lew Hunter passes it along in his classic Screenwriting 434 (Revised ed., 2004). In a nutshell, it teaches the lesson that every screenplay is, in essence, a pile of crap. It’s how the writer molds, crafts, and adorns that lump that matters. Artistry determines whether s/he can transform it into a thing of beauty like a golden statue of the Buddha.
Applied to The Neon Demon, Nicholas Winding Refn’s 2016 slow-burn horror-thriller, the Golden Buddha metaphor is apt. From the standpoint of form and style, it is a well-made film, beautiful to watch. In other words, Refn has applied the golden paint to his Buddha with skill. As a story, the movie is a rather thin and clichéd tale. In other words, the statue’s gilding does not hide the material from which its maker has created it.
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.