Came recommended by HU. I had to borrow them from PG1. A limited, 7-part comic book series based on one of my favorite movies. Told from the perspective of John Doe and provides his backstory which is about as sad and disturbing as you can imagine it would be. About as gory as the movie itself. Most parts have a different style. Plenty of out-of-context Bible quotes. Just really well-executed.
These are hard to find and expensive: anywhere from $250 on eBay to $350 on Amazon. ↩︎
Full-length movie based on a Finnish TV series. Very formulaic Nordic noir serial killer mystery. Tröpe-äfter-Tröpe-äfter-Tröpe-äfter-Tröpe but I loved it and will see the TV show. Ville Virtanen and Anu Sinisalo are just excellent.
Watched with LD. Decent attempt at Desi Noir in picturesque Himachal Pradesh1. Raveena Tandon is intense, vulnerable, and puts in good work as Kasturi Dogra. Great stuff by Parambrata Chattopadhyay, Zakir Hussain, and Meghna Malik. If Jeff Goldblum had a younger brother from an Indian mother, he would look like Indraneil Sengupta. The denouement was a bit rushed and left the door wide open for a second season presumably based on how well this one did. Watchable, predictable, enjoyable.
The wedding song was the laziest composition I’ve heard in a while (spoilers… maybe.)
Saw with BE and NN. Eh. Clear messages about creatives’ struggles and temptations, and the importance of continuing to tell past and present stories of horrific pain and suffering.
I suppose I just lazily wanted to watch a well-made scary movie without actively engaging with it, without searching for the clever and occasionally deep symbolism that has come to characterize a movie with Jordan Peele’s name on it. It was adequately scary.
The title of Anthony’s piece [“Say His Name”] also is recognizable as a play on the Say Her Name slogan meant to memorialize victims of anti-Black violence and police brutality such as Breonna Taylor and Sandra Bland. The recognition of that inference is the only point of connection to it.
Beyond that, little about the plot makes a statement about over-policing or the socio-economic violence that gentrification creates by destroying and displacing low-income communities. Its characters blithely discuss these concerns over drinks or Brianna’s well-appointed living room, but only as part of a litany of urban ills. The sequences are the film’s ways of throwing a message that’s on-brand for 2021 behind a horror movie meant to speak to an audience that supports protests against racial injustice and biased policing in principle without having any actual skin in the game.
To those impacted in a real way by these issues or savvy enough to recognize when they’re being used as mechanisms to impart a sense of relevance, they come across as didactic nonsense. All that noise strangles the twin melodies that make up the Candyman character’s siren song: seduction and legacy.
Academy Award-winning Helen Hunt is a pharma-stunned alien who doesn’t enjoy any screentime in a disjointed plot that prioritizes misdirection over coherence.
Great cinematography. I loved the background score by William Arcane.
Couldn’t finish it. Like if Luther were written by and for 12-year olds. Makes sense, for SM me told that the books were very popular with French teenagers.
A wafer-thin afterthought of a plot undergirds an important and harrowing commentary on the history, pervasiveness, and evil of the caste system in India.
Excellent cinematography and performances by Ayushmann Khurrana, Kumud Mishra as Jatav, and Sushil Pandey as Nihal Singh.
Saw with LD. Long, slow, visceral, beautiful, gory. Kept me guessing. Excellent stuff.
There’s a pervasive hush and sense of stillness that lingers over the region of Gokseong, and scenes of brazen, crazed madness are often preceded by shots of tranquil mountain vistas whose lush, thickly forested landscapes increasingly feel smothering and secretive. This is a film as beautiful as it is gory, as painstakingly scenic as it is committed to stark visual interplays between darkness and light.
All the while, the story of Gokseong unfolds in fits and starts, each puzzle piece more confusing than the last. Are the residents of the town being systematically poisoned with a drug that causes them to become frenzied, savage killers? Are they being cursed? Or is it both, and for what reason? Na’s writing layers tension upon tension, particularly through the escalating paranoia that each of the townspeople comes to feel for any and all outsiders.
However, answers are much harder to find in this film than accusations. Horror fans wanting a plot whose ending dovetails nicely with all the elements that preceded it may wind up feeling frustrated, though many more may be drawn into the heart of its darkness: the conviction that terror has come to this town and there is no escape to be had.
Based on “–All You Zombies–” by Robert A. Heinlein. Sarah Snook is phenomenal. But “John Doe” is an extended, uncredited cameo by Leonardo Di Caprio and I won’t be convinced otherwise.
Watched with Catherine. Dark, tense, predictable. Uashamed to admit that I thought Logan Marshall-Green was Tom Hardy for the duration of the movie (even after watching “Upgrade” … must’ve been the hair.) Excellent stuff by Lindsey Burdge.
