Film PhD @ UEA
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The Boogey Man 1980
Freud invades the homestead.
Am oneiric synthesis rather than imitation of American horror films of the 1970s — anticipates the straight-to-video slashers of the 1980s.
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Nosferatu 2024
Not a marriage between image and word — an amateur stage adaptation expanded (e.g., faux-profound dialogue about the occult, shallow frontal compositions, limited staging in re. to camera movement etc.).
Excellent historical reconstruction but little in style, poetry or thematic insight (esp., in re. mise-en-scène which is further undermined by a preference for long-takes and arc shots).
In re. to Robert Eggers — his approach started to slip with The Northman (i.e., an over-concern for historical reconstruction rather than ‘structure of feeling’ and ‘weltanschauung’ of a historical period).
Additionally, in re., female sexuality — hysteria without an understanding desire.
Despite its ambitions — little depth.
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Poison 2023
Misadaptation of Dahl. The seriousness of the original (i.e., poison being a metaphor for alcoholism and racism) is rendered as caper (i.e., inconsequential like a parlor game).
And although some (i.e., fans and admirers) find Anderson's style reassuring — even comforting — we have to be able to recognise self-parody (esp., his inability to approach mature themes).
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Beverly Hills Cop: Axel F 2024
Barely a film, more risk-adverse algorithm devised content — a simulcara of 1980s nostalgia.
Highfalutin aside — it is a poor production that would rival Tyler Perry.
A script that can only be described as a first draft and performances that have the chemistry of a first read-through.
Terrible cinematography and sound.
Seemingly, part of the inflated budget was spent on the chase sequences. The problem here is that practical effects are undermined by poor editing.
Like most Netflix originals — it’s a film to scroll through your phone to.
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