Halloween Special: “Split” Review

split_ver4It is that time of the year again: time for trick-or-treating, pumpkin-carving, witches-watching and party-going! To celebrate the tradition which may date back to some ancient rituals of Celts, here is my review of the film “Split” from one of the front-men of the modern horror/thriller genre – M. Night Shyamalan (“The Sixth Sense” (1999), “Unbreakable” (2000), “The Village” (2004)). Also, to get you into the festive mood, you can check out my other reviews of horror films, all of them are listed here.

Split (2016)

This film is M. Night Shyamalan’s latest creation, which exceeded everyone’s expectations. Here, a man Kevin (James McAvoy) abducts three girls and holds them hostage in a building. Kevin suffers from a multiple-personality disorder, one of the most serious and rarest of all psychiatric illnesses. He has twenty-three different personalities, who compete for attention in his head, and the captive girls must race against time to free themselves before the emergence of the most frightening and uncontrollable twenty-fourth personality called simply “The Beast”. “Split” is very well-made, with the outstanding acting, especially by McAvoy, and a fascinating plot and topic. What about Shyamalan’s penchant for unbelievable twists, one may ask? Well, there are simply no twists, in a traditional sense of this word, or none to concern oneself when watching the film.

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The Horrorathon: Les Diaboliques (1955)

1820Maddy at Maddy Loves Her Classic Films is hosting the Horrorathon, celebrating horror movies in the light of the forthcoming Halloween, and I have decided to contribute with a short review of one intelligent and highly influential film which some view to be one of the parents of the modern psychological horror/thriller genre:

Les Diaboliques (1955)

Henri-Georges Clouzot’s French-language film “Les Diaboliques” is the film which Alfred Hitchcock was dying to make, but never did (he ardently wanted to buy the rights to the book). The film is not a strictly horror movie, but, rather, a psychological thriller with suspense and horror elements combined. Here, two women, Christina and Nicole, the wife and the mistress of the oppressing director of a boarding school respectively, decide to kill their man and dispose of the body. Everything goes according to plan, but does it really? After the murder, the two women realise that the corpse of their victim is nowhere to be found and the mystery seems to deepen with each passing day.

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“Blade Runner” Review

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Blade Runner (1982)

“A humanoid robot is like any other machine; it can fluctuate between being a benefit and a hazard very rapidly. As a benefit, it’s not our problem” (Rick Deckard in “Do Androids Dream of Electric Sheep?”).

Since its release in 1982, Ridley Scott’s “Blade Runner” has achieved a classic cult status, and is deemed by many to be the most influential science-fiction film ever made, just behind2001: A Space Odyssey” (1968). It is loosely based on a book by Philip K. Dick and stars Harrison Ford, Rutger Hauer, Sean Young and Edward James Olmos. In the film, set in a distant future, Rick Deckard (Ford), an officer at the special police “Blade-Runner” unit is on the mission to hunt down and “retire” (kill) a number of replicants (or androids) who escaped newly-colonised Mars and now wreak havoc on Earth. The film’s superior attention to detail is undeniable; its visuals are original and mind-blowing; and its “minimalist”, “slow-burning” narrative is also admirable, with Ford and Hauer commanding the screen. However, when it comes to comparing the film to the book by Philip K. Dick, “Blade Runner” falls short of being a philosophical, character-focused and narratively-engaging film it aspires to be.

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The Alfred Hitchcock Blogathon: Rope (1948)

338Maddy at Maddy Loves Her Classic Films is hosting The Alfred Hitchcock blogathon, and this is my entry dissecting one of Hitchcock’s most claustrophobic and intriguing films: “Rope” (1948). Even thought this film may not be as ambitious as Hitchcock’s later “Psycho” (1960), it is still suspenseful, tense, cerebral and belongs to one of my favourite cinematic “genres”: “one location” setting films. This “genre” was later used by Lumet (“Twelve Angry Men” (1957)), Polanski (“Repulsion” (1965)) and Mangold (“Identity” (2003)), among others, to a great result. And, this is because in such films what the audience is usually left with is the fascinating psychological “game” among characters of scheming, guessing, suspecting or simply going crazy, without any outside “distractions” being present. Hitchcock’s “Rope” is no different.

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“Psycho” Review

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Psycho (1960)

**SPOILER ALERT**

This will be my 100th film review and to celebrate the occasion I thought I would review one of my favourite of psychological horror films – Alfred Hitchcock’s “Psycho”. Adapted from a novel by Robert Bloch, this film is a real classic of psychological horror genre, which practically revolutionised the way horror films were shot ever since its premiere. Relatively innovative in how it presents the characters, story and the ending at that time, Hitchcock’s “Psycho” is as suspenseful and frightening as it is entertaining, and is definitely a “must-see” for anyone who has even a slightest interest in the genre.

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“Nocturnal Animals” Review

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Nocturnal Animals (2016)

After directing critically-acclaimed “A Single Man” back in 2009, Tom Ford has decided to try his hand in directing something darker and more complicated, an adaptation of the novel by Austin Wright “Tony and Susan”. “Nocturnal Animals” is a drama/thriller containing two stories running in parallel: one in which Susan (Amy Adams), an art gallery owner, receives a manuscript from her ex-husband, Edward (Jake Gyllenhaal) and the impact that his forthcoming novel has on her; and another one in which the story in Edward’s manuscript is told. In that story, Edward and his family are fighting off the deadly advances of a gang on the way to their vacation, and the result of their on-the-road struggle is a horrific crime and a painful detective work. 

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Hitchcock’s “Rebecca” Review

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 **SPOILER ALERT** 

Rebecca (1940)

“…I suppose sooner or later in the life of everyone comes a moment of trial. We all of us have our particular devil who rides us and torments us, and we must give battle in the end” (Daphne Du Maurier “Rebecca” (1938)). 

Directed by Alfred Hitchcock, “Rebecca” is adapted from the best-selling novel by Dalphne Du Maurier, and tells of a mysterious widower, Maxim de Winter (Laurence Olivier), the owner of a grand estate Manderley, who stumbles across a shy and awkward young girl (Joan Fontaine) while on a trip in Monte Carlo. De Winter hurriedly marries our heroine, but upon the arrival to his estate, the new Mrs de Winter feels like a trespasser. She realises that every corner of the house is permeated by the spirit of Maxim’s beautiful, charming and intelligent previous wife, Rebecca, and senses that her husband still re-lives the happy moments that he had with his former wife. 

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