Talking Movies

January 9, 2019

Hopes: 2019

Glass

They called him Mister…

Glass, an unlikely sequel

to Unbreakable

 

Cold Pursuit

U.S. remake, but…

with same director, Neeson

in for Skarsgard. Hmm.

 

Happy Death Day 2U

Groundhog Day: Part II.

I know what you Screamed before.

Meta-mad sequel.

 

Where’d You Go, Bernadette

Cate Blanchett missing,

Daughter on her trail, thru time,

Very Linklater…

Pet Sematary

Stephen King remake.

Yes, sometimes dead is better,

but maybe not here.

 

Shazam!

Chuck: superhero.

Big: but with superpowers.

This could be great fun.

 

Under the Silver Lake

It Follows: P.I.

Sort of, Garfield the P.I.

Riley Keough the femme

 

Pokemon: Detective Pikachu

Ryan Reynolds is voice

Pikachu is the shamus

PG Deadpool fun?

The Turning

of the screw, that is.

Mackenzie Davis the lead,

can the ghosts be real?

 

John Wick: Parabellum

Keanu is back

On a horse while in a suit

Killers in  pursuit

 

Ad Astra

James Gray does sci-fi,

Brad Pitt looks for dad in space,

Gets Conradian.

 

Flarksy

Rogen heart Theron;

High school crush, now head Canuck.

No problem. Wait, what?!

Ford v Ferrari

Mangold for long haul;

Le Mans! Ferrari must lose!

Thus spake Matt Damon

 

Hobbs and Shaw

The Rock and The Stath.

The director of John Wick.

This will be bonkers.

 

The Woman in the Window

Not the Fritz Lang one!

Amy Adams: Rear Window.

Joe Wright the new Hitch.

CR: Chris Large/FX

Gemini Man

Will Smith and Ang Lee,

Clive Owen and the great MEW,

cloned hitman puzzler.

 

Charlie’s Angels

K-Stew’s big comeback

French films have made her, um, hip?

Just don’t bite your lip…

 

The Day Shall Come

Anna Kendrick stars in-

Um, nobody knows a thing

Bar it’s Chris Morris

 

Jojo Rabbit

‘My friend Adolf H.’

is Taika Waititi-

this could get quite strange…

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June 8, 2018

Trailer Talk: Part IV

In an entry in this sporadic series I round up the trailers for some of this autumn’s most anticipated films.

Bad Times at the El Royale

Buffy the Vampire Slayer great Drew Goddard returns to the director’s chair, and he brings his Cabin in the Woods star Chris Hemsworth with him for what looks a lot like a glorious cameo as the villain. I fear the trailer may give away a bit too much regarding the nefarious folk that hang out at the El Royale and the bad times that go down there, but Goddard has an undeniable flair for comedy and has assembled a terrific cast of newcomers and established stars. There are echoes of The Cabin in the Woods in the notion that characters who think they’re doing their own thing are being watched and manipulated by a mysterious management. It’s also hard not to wonder if Hemsworth might be playing a Charles Manson type, given the setting, and that Manson seems to be in the air in Hollywood as the 50th anniversary of the Helter Skelter massacre approaches. Let us see what mixture of comedy and gory bombastic deeds Goddard has produced.

The Girl in the Spider’s Web

Rooney Mara does not return. Claire Foy is now Lisbeth Salander. David Fincher also does not return. Fede Alvarez is now David Fincher (sic). And, stunningly, Stieg Larsson does not return. Fede Alvarez and others are now writing for him. So, 2 films in and this has turned into the James Bond juggernaut; where the creatives are easily replaceable and only the original author’s title or some riff on it survives the adaptation process. I had always wondered how they would solve the problem of the supervillain Niedermann that Larsson unwisely introduced into his later novels; a man part Hulk and part Wolverine inserted in a previously grimly realistic universe. Little did I suspect the solution would be throwing away those two novels… Alvarez and Foy are both great, but the firing of Mara and Fincher to make way for them leaves a sour taste that may be impossible to overcome; especially as the Salander as avenging angel motif is clumsily played up so astonishingly literally in this trailer.

Under the Silver Lake

And David Robert Mitchell is cutting his film, after a brutal reaction at Cannes. Nobody should ever do anything based on brutal reaction at Cannes. Nobody should do anything based on reaction at Cannes. The worst films get lauded and the best films get crucified in that unnatural atmosphere, and the world is the poorer for it when this forces changes. Let’s not forget people at Cannes booed The Neon Demon.

January 15, 2018

Hopes: 2018

Three Billboards Outside Ebbing, Missouri

Martin McDonagh…

Grieving mother takes on cops

Cue absurd mayhem

 

Lady Bird

Northern Cali teen

Gerwig directs Ronan as

Gerwig, critics notice!

 

Meg

The State fights big shark

An Asylum film times ten

Thank China for that

 

Unsane

Soderbergh on phone,

Making a film with Claire Foy,

Don’t tell David Lynch

Ready Player One

Spielberg and 80s

Are like that, so, perfect fit

For 80s ref. Fest

 

Isle of Dogs

Cute Japanese dogs

Do cute Wes Anderson things

All in stop motion

 

Wonderstruck

Todd Haynes does The Hours,

so to speak, Julianne Moore,

stories in two times.

 

Deadpool 2

How to make sequel?

Discuss. He will. In sequel.

In camera. Yeah!

Jurassic World 2

Goldblum finds a way

They never leave well alone

These dino islands

 

Mission Impossible 6

McQuarrie returns

Cruise runs and jumps (and falls too)

Cavill’s tache wows all

 

The Predator

Shane Black was bit part

Now he’s running the whole show

Lightning strike again?

Under the Silver Lake

It Follows: P.I.

Sort of, Garfield the P.I.

Riley Keough the femme

 

Bad Times at the El Royale

Drew Goddard directs

Thor in 60s Tahoe dive

Horror might ensue?

 

Widows

Mainstream Steve McQueen

Gone Girl writer does La Plante

What will this look like?!

Golden Exits

ARP returns

With J Schwartzman in Brooklyn

Domestic dramas

 

Maya

Mia Hansen-Love

a war journo kidnap drama

and, of course, after…

 

Chris Morris TDK

Anna Kendrick stars in-

Um, nobody knows a thing

Bar it’s Chris Morris

 

Crooked House

Familiar ground:

Julian Fellowes, Big House,

Murder, A Christie

February 26, 2015

It Follows

Writer/director David Robert Mitchell’s acclaimed indie horror finally arrives, and its gut-knotting sense of dread proves well worth the wait.

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Early morning in a normal suburban street, the camera pans around and observes a young woman fleeing her house, it pans as she warily crosses the road and then dashes back into the house for her car keys, before driving away. At the beach she calls her father to apologise, before reacting in despairing horror to something we don’t see. We do see her mangled corpse. As cold opens go it’s very startling, and introduces a sense of unease that never quite leaves us during innocuous scenes of our heroine Jay (Maika Monroe) swimming in her backyard pool, hanging out with sister Kelly (Lili Sepe), and friends Paul (Keir Gilchrist) and Yara (Olivia Luccardi). It also underscores the bizarre reaction of boyfriend Hugh (Jake Weary) to a childish game during a date. And then Hugh passes something on to Jay…

‘It’. ‘It’ follows you. You must never let ‘It’ touch you. And you can only get rid of ‘It’ by passing it on to someone else… David Robert Mitchell’s first movieThe Myth of the American Sleepover was acclaimed for its originality. It Follows displays admirable directorial precision on his part, but influences are everywhere in his script. ‘It’ has a touch of the Terminator, as well as a Romero zombie, and even seems like a nod to Cronenberg’s horror of sexual infection Shivers. Rich Vreeland’s fantastically menacing synth score tips its hat to John Carpenter, as does a key element of ‘It’. But Mitchell isn’t overwhelmed by all these touchstones. He plays around with archetypal nice guy Hugh and bad boy Greg (Daniel Zovatto), as they aid and hinder Maika’s attempts to escape from being relentlessly pursued by ‘It’.

It’s hard to give a flavour of It Follows without ruining part of its appeal, the slow drip-feed of information about ‘It’. The uncertainty over the nature of ‘It’ allows a number of bravura sequences of agonising suspense, the highlight being the camera panning 360 over and over as ‘It’ steadily approaches an oblivious Jay. Cinematographer Mike Gioulakis creates such a dreamy atmosphere in early scenes with Jay that Mitchell is able to sustain for a very long time a knife-edge balance between suggesting that Jay is merely hallucinating in response to a trauma, and the white-knuckle ride that this horror is very real. White knuckle are needed to prevent niggling questions like if an implied foursome and threesome don’t pass it on far enough, why not just drive to O’Hare and sleep with someone about to fly to Europe?

It Follows features another strong performance by Maika Monroe, makes great use of decaying Detroit locations, and is powered by spine-tingling dread and terror, but loses its way slightly towards its grand showdown finale.

4/5

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