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.
Sun Choke is a horror film hiding behind the mask of an extremely efficient suspense thriller.
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 Mickey Keating’s debut as a writer-director with Ultra Violence (2011), his films have become more stylized and postmodern. This trend is general and not a relentless march with each new release. Still, his most recent effort, Carnage Park (2016), is arguably his most self-conscious bricolage of genres and styles, combining elements of the Western (a la Peckinpah), unconventional storytelling (in the vein of Tarantino’s work), and horror tropes. But does it work (and if so, for whom)?
There is a point near the end of the clumsily-titled Punk’s Dead: SLC Punk 2 where our band of road (and robo)-trippin’ misfits find themselves at a show… Read more ““Punk’s Dead: SLC Punk 2” (2016): Selling Out or Buying In?”
A sci-fi action-thriller with horror elements, DEATH MACHINE (1994) is cheesy 1990s B-movie goodness.
It looks like I’ve found my first guilty pleasure flick of 2015. I notice that I haven’t written much about movies that have caused me to have… Read more “Mercy, Mercy . . . ALMOST MERCY (2015)”
As I mentioned in the conclusion of my last post, I planned to follow up my review of “Tales from the Dark 1” with a look at its sister film, “Tales from the Dark 2.” The latter is also a compilation of three short horror films, all based on short stories by Lilian Lee and helmed by Hong Kong directors. As I hinted in my last post, the horror of the second collection is much more hardcore than that of the first. It is more explicit in terms of sexuality and violence. As a result, it is a Category III film (no one under 18 admitted) under the HK rating system.