The Little Stranger (2018)
The film adaptation of Sarah Waters’ novel “The Little Stranger” had some bad public reviews, and, therefore, I was curious to see it. In the story, Dr Faraday (Domhnall Gleeson) reacquaints himself with one stately house (Hundreds Hall) he used to admire in his childhood. This is the house belonging to the Ayres family, who now find themselves in a pitiful financial and societal position. Dr Faraday tries to help the son of the family Roderick (Will Poulter) with his health issues, and gets close to the daughter of Mrs Ayres (Charlotte Rampling) – Caroline Ayres (Ruth Wilson). However, with his blinding attachment to the house, Dr Faraday does not even guess the horrors which the house apparently holds. The film is not bad. It is stylishly presented and has some intriguing character presentation. However, it is also problematic in a way it tries too awkwardly to tie together a period drama, with one central maladjusted character, and supernatural horror. Continue reading ““The Little Stranger” Review”
<<<I took care not to reveal any specific spoilers, but some discretion when reading is still advised>>>
Darren Aronofsky’s “Mother!”….I am happy to report that there is no need for some mass panic. “Mother!” may start slow, but it proves to be a very enjoyable “descent” into sheer madness overall. The initial story here is Him (Javier Bardem) and Her (Jennifer Lawrence) settling into a married life in a country mansion, until one couple (Ed Harris and Michelle Pfeiffer) become their pestering lodgers against the wishes of Her. Ironically, the main flaw of Aronofsky’s psychological horror film “Mother!” is that it is not his first film. If it were, it would have been a masterpiece of achievement. Instead, “Mother!” is just the “recycling” of the elements/tricks present in Aronofsky’s previous films. How does this affect this film, one may ask? Well, Aronofsky’s “recycling” of his ideas reduces the overall effect, impact and unpredictability of “Mother!” by as much as 80%. “Mother!” formula is quite simple to understand. The film is structurally and archetypically “Black Swan” (2010) + touches of some “over-the-top” home invasion and “Rosemary’s Baby” (1968). This is all to it. And, where it is not all, it also incorporates, quite evidently, Aronofsky’s artful orange-colour bursting creativity and philosophy we have all previously seen in “The Fountain” (2006) and biblical/allegorical references. The saddest thing here is that the film is quite entertaining and even brilliant in parts, and the premise would have been completely unforgettable had Aronofsky been more original in his work.
Continue reading ““Mother!” Review”
Here’s just a hint of what happens when you turn a top-flight director, “Black Swan” maestro Darren Aronofsky — and two Oscar winners (Jennifer Lawrence, Javier Bardem) loose on the horror genre. Can “Mother!” survive the inevitable build-up of expectations that such potential generates? The first teaser trailer, here, gives us a hint.
via First Teaser trailer — Aronofsky’s horrific “Mother!” — Movie Nation
Aronofsky’s previous film “Noah” (2014) was bearable at best. Here, he may look to revert back to “Black Swan“(2010)-like psychological thriller/horror, but despite the talented cast, I am afraid he could fall short on originality (stranger(s) coming to live in one’s home?), and on intelligence. With films like this, it is important not overthink things, and looking at the film’s title and its poster, it could be nothing but over-stylised mayhem. The film is also set to compete at the forthcoming Venice International Film Festival.
The Revenant (2015)
“He would crawl until his body could support a crutch. If he only made three miles a day, so be it. Better to have those three miles behind him than ahead.” (Michael Punke, “The Revenant: A Novel of Revenge”)
In Alejandro González Iñárritu’s latest film “The Revenant”, Leonardo DiCaprio plays Hugh Glass, an American frontiersman involved in an expedition to American wilderness in the year 1823. After a bear attack leaves Glass seriously injured, one of his companions decides to betray him, and among other horrific actions, leaves him behind. What follows is Glass’s unforgettable journey back to the outpost, to find the man who not only left him for dead, but also robbed him of the one dearest to him.
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Anna Karenina (2012)
Sadly, this newest adaptation of Leo Tolstoy’s classic ‘Anna Karenina’ does not even come close to capturing the spirit of the novel, especially in terms of fully conveying the passion and love between, and the ensuing tragedy of, the main characters. Therefore, I will try to review this film having solely in mind the director’s take on the novel, ignoring as much as possible the discrepancies between the novel and the film, otherwise it would be a never-ending task.
Continue reading ““Anna Karenina” Review”