“The Eyes of My Mother” (2016) combines an edgy, boundary-pushing story with painstaking attention to form and execution in filmmaking.
Fear and anxiety have a way of unsettling us: sometimes bringing out our worse natures, and sometimes forcing us to find our better selves. Writer/director Babak Anvari explores this in his Iranian horror, UNDER THE SHADOW. He also shows how fear, anxiety, and war can unearth darker powers in Nature. The look of the film is simple but with a growing oppression, a sometimes claustrophobic feel. The main characters are at the mercy not only of the external unrest but also of what is lurking in their minds.
Despite the paradoxical gruesomeness and “what if?” curiosity of the premise itself, the entirety of The Purge series has possessed a through-line of altruism and nobility.
Another Heaven and Suicide Club both focus on late 1990s Tokyo detectives. One detective is young and single. The other is middle-aged and has a wife and kids. Cases involving suspicious deaths that turn out to be far from run-of-the-mill confront both of them. Both soon realize that there’s more going on than meets the eye. At first, none of their colleagues will believe them. How will they deal with these cases?
If you watched only half of Red White & Blue (2010), you would think it was a more coherent and serious version of Richard Linklater’s Slacker (1991 – see my review and its follow-up article). If you watched the entire film, you would see that the dramatic storyline builds to a violent finale that marks it as a contender in the extreme horror subgenre.
As the poster art above attests, Lars von Trier’s ANTICHRIST has been a sort of Rorschach test for film critics and cinephiles since its controversial premiere at… Read more “Terror Tuesday: “Antichrist” (2009, dir. Lars von Trier)”
In the process of paying homage to the original “Town That Dreaded Sundown,” the 2014 movie draws on classic 1970s slasher tropes to tell the story of the return of its villain, the Phantom Killer (otherwise known as Baghead).