A curious blend of Lynchian imagery, Disney color, and transitions worthy of Terry Gilliam
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Don't Worry Darling 2022
Don’t worry darling- a reassurance that, while familiar and kind delivered by our loved ones, can also be condescending and dismissive. It is this duality that sets a significant conflict in the titular film, a sharp satire of both classic and contemporary feminist themes. We meet Alice (a poised and capable Florence Pugh) and Jack (handsome and dutiful Harry Styles) living in a posh post war Community called Victory where the men depart every morning to a non descript office…
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The Empty Man 2020
Judging solely by its publicity, The Empty Man would appear to be another spooky urban legend, full of routine plot and a lack of insight or subversion. But the film, even from its opening sequence, rips apart our expectations. Even The conventional portion of the plot doesn’t stay familiar long. This is a young girl in distress and retired gumshoe on the case flung far from their familiar roles and our expectations. It’s difficult for me to remember a greater distance from what I anticipated a movie to be and where it actually wound up
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Us 2019
Jordan Peele’s Us raises the powerful suggestion that the concept of apocalypse isn’t a single cataclysmic event, but immediate and perpetual, as intimate as our reflections in the mirror. Us is smart and sophisticated enough to not settle for a simple linear logic, and enriches it’s high concept with ambiguity and careful thought.
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The Night House 2020
It’s easy, probably necessary, to categorize Night House as a horror film. But to do so would be to ignore it’s deep, broad substance as a penetrating psychological thriller. Still, Night House is a rare film that transcends its ties to a genre because it’s artistic value is so radiant and it’s subject matter, though visually and narratively shocking, still resonates as a story that could actually happen in the real world. So many movies under the scare genre have…
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