Premise: After waking up convinced that she is going to die tomorrow, Amy’s carefully mended life begins to unravel. As her delusions of certain death become contagious to those around her, Amy and her friends’ lives spiral out of control in a tantalizing descent into madness.
She Dies Tomorrow, the latest from filmmaker Amy Seimetz, offers a unique exploration of existential anxiety by personifying depression as a contagion that’s easily spread. It’s a film that takes its subject matter seriously and eschews any subtlety or subtext with it. Instead, the specter of impending death and anxiety takes the forefront and drives what very little plot is in the movie. In a strange way, this approach actually works to the film’s benefit some of the time. Unfortunately, at other points, She Dies Tomorrow feels too meandering for its own good.
Premise: After an innocent AOL chat turns racy, a Catholic teenager in the early 00s discovers masturbating and struggles to suppress her new urges in the face of eternal damnation.
Think back to your early high school days and how sex and sexuality felt ever-present in daily life. Then, if you weren’t already, imagine those same feelings in the setting of a Catholic school, where you’re taught to mostly repress or ignore those feelings. Sex outside of marriage is a sin. So is masturbation. What do you do when your body and society are telling you one thing and the church is telling you another? Oh, and if you go against what they’re teaching, you’ll spend the afterlife in eternal damnation. Continue reading →
This week, Mike joins me to review IFC Midnight’s new releases Relic and The Rental. We also chat about Mike’s recovery from nose surgery, the newly announced Scream Factory Friday the 13th Blu-ray collection, and the ill-advised Days of the Dead convention.
In our inaugural Ebert’s Great Movies Review Series episode, our contributor and friend Ben Sears joins me to discuss the Marx Brothers’ Duck Soup (1933) and Martin Scorsese’s After Hours (1985) from Ebert’s “Great Movies” list. For Potpourri, we discuss the documentary The Painter and the Thief and the first handful of episodes from 13 Reasons Why’s final season.
Premise: Early in World War II, an inexperienced U.S. Navy captain must lead an Allied convoy being stalked by Nazi U-boat wolfpacks.
Throughout the running time of Greyhound, we learn more about Captain Ernie Krause’s (Tom Hanks) leadership skills, but shockingly little about his life outside the titular naval destroyer. The mission is simple: guide a fleet of Allied supply ships across the vast Atlantic Ocean, and sink as many Nazi U-boats as possible. The fleet remains unprotected from air cover for over 50 hours over the ocean, and this provides the ticking clock conceit to the film. Greyhound bears a striking similarity to last year’s 1917, in that there’s a clear endpoint objective at stake, and the characters we spend the most time with are frustratingly opaque. But whereas 1917 took time to reflect and add at least a little characterization between its video game-like checkpoints, Greyhound only stops and pauses for a scant few moments. Continue reading →
Premise: A daughter, mother and grandmother are haunted by a manifestation of dementia that consumes their family’s home.
Relic, the feature debut from writer/director Natalie Erika James, takes the fragility and fear of caring for a mentally ailing loved one and packages it into an overall enticing thriller with the effectiveness and confidence of a seasoned filmmaker. By focusing on the struggles of caring for a relative, Relic allows its audience to grow attached to its characters before suddenly ratcheting up the tension and suspense in more conventional ways. And although James deftly guides the audience through the family drama at Relic‘s center, the conventional feel of the climax does leave a bit to be desired before successfully ending the film on a disturbing and thought-provoking note.
I liked it. A few really great laugh out loud moments and some good/disturbing "what the fuck has happened to the US" moments. The Giuliani scenes at the end are as advertised.Amongst all that, however, is a pretty sweet father-daughter story. It feels like they knew they had lightning in a bottle with Maria Bakalova and had Borat take a bit of a b […]
Much, much better than I expected it to be. It's a good palate cleanser after a couple of the other later Friday movies. The violence and gore effects were good. The kills were pretty inventive and (aside from some nearly incomprehensible quick cutting action) executed well.I didn't like the sort of "humanity" the movie gives Jason. He wo […]
Surprisingly not bad. I really like the way the movie incorporates both legends. I kind of wish it did more to expand Freddy's use of Jason to help bring him (Freddy) back into his victims' consciousness.The movie has plenty of super fun gore effects and some cool kills throughout it. The fighting between J-man and Fred-dog (I'm sorry) is fun […]
It's kind of insane to me how much of this movie actually kind of worked for me. The early 2000s low budget Syfy original movie aesthetic was kind of charming in some instances and Jason's first kill on the ship is really cool.It tried to return the franchise to its cheesy fun roots but ultimately doesn't really stick the "fun" part […]
Yikes. So I watched the unrated cut and, to its credit, there is some really good gore and body horror effects work in this movie.But that's about all this movie has going for it. It's a Friday the 13th movie in name only, which isn't even the case since New Line didn't have the rights to the name, apparently. So I've commended Frida […]