Anyone who’s a fan of J-Horror and/or Sion Sono’s filmmaking style and nihilistic worldview should check it out.
Mike Flanagan’s BEFORE I WAKE has the feel of a modern fairytale along with horror and an undercurrent of sadness.
On one level, this “Netflix original” flick seems like that proverbial “film we’ve seen before” — several times, in fact. It’s a coming-of-age-through-trial-by-fire story that’s fittingly described by cliches. On another level, but related to this one, it’s a semi-clever horror comedy. How much you’ll enjoy it depends on at what level you receive it.
“The Eyes of My Mother” (2016) combines an edgy, boundary-pushing story with painstaking attention to form and execution in filmmaking.
While the inevitable comparisons between Blair’s directorial debut and the Saulnier pictures in which he appears might find Blair’s film lacking, it’s really a case of ‘apples and oranges.’
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.
Innocuously tragicomic at first, this indie film escalates first to the darkly comic and finally to the abjectly horrific.
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?
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.
Love (2015) is a highly reflexive film that says as much about writer-director Gaspar Noé (I Stand Alone, Irreversible, Enter the Void) as it does about its diegetic world. Its protagonist, Murphy (Karl Glusman), is (like Noé) a young, foreign-born (American rather than Argentinian) filmmaker who moves to France to make films. Murphy becomes involved in a highly charged relationship with a young French artist named Electra (Aomi Muyock). Their relationship ruptures after they invite a teenage neighbor, Omi (Klara Kristin), to have a threesome with them.