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grigori77 · 5 years

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Movies of 2019 - My Pre-Summer Favourites (Part 2)

The Top Ten:

10. GLASS – back in 2000, I went from liking the work of The Sixth Sense’s writer-director M. Night Shyamalan to becoming a genuine FAN thanks to his sneakily revisionist deconstruction of superhero tropes, Unbreakable. It’s STILL my favourite film of his to date, and one of my Top Ten superhero movies EVER, not just a fascinating examination of the mechanics of the genre but also a very satisfying screen origin story – needless to say I’m one of MANY fans who’ve spent nearly two decades holding out hope for a sequel. Flash forward to 2016 and Shyamalan’s long-overdue return-to-form sleeper hit, Split, which not only finally put his career back on course but also dropped a particularly killer end twist by actually being that very sequel. Needless to say 2019 was the year we FINALLY got our PROPER reward for all our patience – Glass is the TRUE continuation of the Unbreakable universe and the closer of a long-intended trilogy. Turns out, though, that it’s also his most CONTROVERSIAL film for YEARS, dividing audiences and critics alike with its unapologetically polarizing plot and execution – I guess that, after a decade of MCU and a powerhouse trilogy of Batman movies from Chris Nolan, we were expecting an epic, explosive action-fest to close things out, but that means we forgot exactly what it is about Shyamalan we got to love so much, namely his unerring ability to subvert and deconstruct whatever genre he’s playing around in. And he really doesn’t DO spectacle, does he? That said, this film is still a surprisingly BIG, sprawling piece of work, even if it the action is, for the most part, MUCH more internalised than most superhero movies. Not wanting to drop any major spoilers on the few who still haven’t seen it, I won’t give away any major plot points, suffice to say that ALL the major players from both Unbreakable and Split have returned – former security guard David Dunn (Bruce Willis) has spent the past nineteen years exploring his super-strength and near-invulnerability while keeping Philadelphia marginally safer as hooded vigilante the Overseer, and the latest target of his crime-fighting crusade is Kevin Wendell Crumb (James McAvoy), the vessel of 24 split personalities collectively known as the Horde, who’s continuing his cannibalistic serial-murder spree through the streets. Both are being hunted by the police, as well as Dr. Ellie Staple (series newcomer Sarah Paulson), a clinical psychiatrist specialising in treating individuals who suffer the delusional belief that they’re superheroes, her project also encompassing David’s former mentor-turned-nemesis Elijah Price, the eponymous Mr. Glass, whose life-long suffering from a crippling bone disease that makes his body dangerously fragile has done nothing to blunt the genius-level intellect that’s made him a ruthlessly accomplished criminal mastermind. How these remarkable individuals are brought together makes for fascinating viewing, and while it may be a good deal slower and talkier than some might have preferred, this is still VERY MUCH the Shyamalan we first came to admire – fiendishly inventive, slow-burn suspenseful and absolutely DRIPPING with cool, earworm dialogue, his characteristically mischievous sense of humour still present and correct, and he’s still retained that unswerving ability to wrong-foot us at every turn, right up to one of his most surprising twist endings to date. The cast are, as ever, on fire, the returning hands all superb while those new to the universe easily measure up to the quality of talent on display – Willis and Jackson are, as you’d expect, PERFECT throughout, brilliantly building on the incredibly solid groundwork laid in Unbreakable, while it’s a huge pleasure to see Anya Taylor-Joy, Spencer Treat Clark (a fine actor we don’t see NEARLY enough of, in my opinion) and Charlayne Woodard get MUCH bigger, more prominent roles this time out, while Paulson delivers an understated but frequently mesmerising turn as the ultimate unshakable sceptic. As with Split, however, the film is once again comprehensively stolen by McAvoy, whose truly chameleonic performance actually manages to eclipse its predecessor in its levels of sheer genius. Altogether this is another sure-footed step in the right direction for a director who’s finally regained his singular auteur prowess – say what you will about that ending, but it certainly is a game-changer, as boldly revisionist as anything that’s preceded it and therefore, in my opinion, exactly how it SHOULD have gone. If nothing else, this is a film that should be applauded for its BALLS …

9. PET SEMATARY – first off, let me say that I never saw the 1989 feature adaptation of Stephen King’s story, so I have no comparative frame of reference there – I WILL say, however, that the original novel is, in my opinion, easily one of the strongest offerings from America’s undisputed master of literary horror, so any attempt made to bring it to the big screen had better be a good one. Thankfully, this version more than delivers in that capacity, proving to be one of the more impressive of his cinematic outings in recent years (not quite up to the standard of The Mist, perhaps, but about on a par with It: Chapter One or the criminally overlooked 1408), as well as one of this year’s best horror offerings by far (at least for now). This may be the feature debut of directing double-act Kevin Kölsch and Dennis Widmyer, but they both display a wealth of natural talent here, wrangling bone-chilling scares and a pervading atmosphere of oppressive dread to deliver a top-notch screen fright-fest that works its way under your skin and stays put for days after. Jason Clarke is a classic King everyman hero as Boston doctor Louis Creed, displaced to the small Maine town of Ludlow as he trades the ER for a quiet clinic practice so he can spent more time with his family – Amy Seimetz (Upstream Color, Stranger Things), excellent throughout as his haunted, emotionally fragile wife Rachel, toddler son Gage (twins Hugo and Lucas Lavole), and daughter Ellie (newcomer Jeté Laurence, BY FAR the film’s biggest revelation, delivering to the highest degree even when her role becomes particularly intense). Their new home seems idyllic, the only blots being the main road at the end of their drive which experiences heavy traffic from speeding trucks, and the children’s pet cemetery in the woods at the back of their garden, which has become something of a local landmark. But there’s something far darker in the deeper places beyond, an ancient place of terrible power Louis is introduced to by their well-meaning but ultimately fallible elderly neighbour Jud (one of the best performances I’ve ever seen from screen legend John Lithgow) when his daughter’s beloved cat Church is run over. The cat genuinely comes back, but he’s irrevocably changed, the once sweet and lovable furball now transformed into a menacingly mangy little four-legged psychopath, and his resurrection sets off a chain of horrific events destined to devour the entire family … this is supernatural horror at its most inherently unnerving, mercilessly twisting the screws throughout its slow-burn build to the inevitable third act bloodbath and reaching a bleak, soul-crushing climax that comes close to rivalling the still unparalleled sucker-punch of The Mist – the adaptation skews significantly from King’s original at the mid-point, but even purists will be hard-pressed to deny that this is still VERY MUCH in keeping with the spirit of the book right up to its harrowing closing shot. The King of Horror has been well served once again – it’s may well be ousted when It: Chapter 2 arrives in September, but fans can rest assured that his dark imagination continues to inspire some truly great cinematic scares …

8. PROSPECT – I love a good cinematic underdog, there’s always some dynamite indies and sleepers that just about slip through the cracks that I end up championing every year, and 2019’s current favourite was a minor sensation at 2018’s South By Southwest film festival, a singularly original ultra-low-budget sci-fi adventure that made a genuine virtue of its miniscule budget. Riffing on classic eco-minded space flicks like Silent Running, it introduces a father-and-daughter prospecting team who land a potentially DEEPLY lucrative contract mining for an incredibly rare element on a toxic jungle moon – widower Damon (Transparent’s Jay Duplass), who’s downtrodden and world-weary but still a dreamer, and teenager Cee (relative newcomer Sophie Thatcher), an introverted bookworm with hidden reserves of ingenuity and fortitude. The job starts well, Damon setting his sights on a rumoured “queen’s layer” that could make them rich beyond their wildest dreams, but when they meet smooth-talking scavenger Ezra (Narcos’ Pedro Pascal), things take a turn for the worse – Damon is killed and Cee is forced to team up with Ezra to have any hope of survival on this hostile, unforgiving moon. Thatcher is an understated joy throughout, her seemingly detached manner belying hidden depths of intense feeling, while Pascal, far from playing a straight villain, turns Ezra into something of a tragic, charismatic antihero we eventually start to sympathise with, and the complex relationship that develops between them is a powerful, mercurial thing, the constantly shifting dynamic providing a powerful driving force for the film. Debuting writer-directors Zeek Earl and Chris Caldwell have crafted a wonderfully introspective, multi-layered tone poem of aching beauty, using subtle visual effects and a steamy, glow-heavy colour palette to make the lush forest environs into something nonetheless eerie and inhospitable, while the various weird and colourful denizens of this deadly little world prove that Ezra may be the LEAST of the dangers Cee faces in her hunt for escape. Inventive, intriguing and a veritable feast for the eyes and intellect, this is top-notch indie sci-fi and a sign of great things to come from its creators, thoroughly deserving of some major cult recognition in the future.

7. DRAGGED ACROSS CONCRETE – S. Craig Zahler is a writer-director who’s become a major fixture on my ones-to-watch list in recent years, instantly winning me over with his dynamite debut feature Bone Tomahawk before cementing that status with awesome follow-up Brawl On Cell Block 99. His latest is another undeniable hit that starts deceptively simply before snowballing into a sprawling urban crime epic as it follows its main protagonists – disgraced Bulwark City cops Brett Ridgeman (Mel Gibson) and Tony Lurasetti (Cell Block 99’s Vince Vaughn), on unpaid suspension after their latest bust leads to a PR nightmare – on a descent into a hellish criminal underworld as they set out to “seek compensation” for their situation by ripping off the score from a bank robbery spearheaded by ruthlessly efficient professional thief Lorentz Vogelmann (Thomas Kretschmann). In lesser hands, this two-hour-forty-minute feature might have felt like a painfully padded effort that would have passed far better chopped down to a breezy 90-minutes, but Zahler is such a compellingly rich and resourceful writer that every scene is essential viewing, overflowing with exquisitely drawn characters spouting endlessly quotable, gold-plated dialogue, and the constantly shifting narrative focus brings such consistent freshness that the increasingly complex plot remains rewarding right to the end. The two leads are both typically excellent – Vaughn gets to let loose with a far more showy, garrulous turn here than his more reserved character in his first collaboration with Zahler, while this is EASILY the best performance I’ve seen Gibson deliver in YEARS, the grizzled veteran clearly having a fine old time getting his teeth into a particularly meaty role that very much plays to his strengths – and they’re brilliantly bolstered by an excellent supporting cast – Get Rich Or Die Tryin’s Tory Kittles easily matches them in his equally weighty scenes as Henry Johns, a newly-released ex-con also out to improve his family’s situation with a major score, while Kretschmann is at his most chilling as the brutal killer who executes his plans with cold-blooded precision, and there are wonderful scene-stealing offerings from Jennifer Carpenter, Udo Kier, Don Johnson (three more Zahler regulars, each having worked with Vaughn on Cell Block 99), Michael Jai White, Laurie Holden and newcomer Miles Truitt. This is a really meaty film, dark, intense, gritty and unflinching in its portrayal of honest, unglamorous violence and its messy aftermath, but fans of grown-up filmmaking will find PLENTY to enjoy here, Zahler crafting a crime epic comparable to the heady best of Scorsese and Tarantino. Another sure-fire winner from one of the best new filmmakers around.

6. SHAZAM! – there are actually THREE movies featuring Captain Marvel out this year, but this offering from the hit-and-miss DCEU cinematic franchise is a very different beast from his MCU-based namesake, and besides, THIS Cap long ago ditched said monicker for the far more catchy (albeit rather more oddball) title that graces Warner Bros’ latest step back on the right track for their superhero Universe following December’s equally enjoyable Aquaman and franchise high-point Wonder Woman. Although he’s never actually referred to in the film by this name, Shazam (Chuck’s Zachary Levy) is the magically-powered alternate persona bestowed upon wayward fifteen year-old foster kid Billy Batson (Andi Mack’s Asher Angel) by an ancient wizard (Djimon Hounsou) seeking one pure soul to battle Dr. Thaddeus Sivana (Mark Strong), a morally corrupt physicist who turns into a monstrous supervillain after becoming the vessel for the spiritual essences of the Seven Deadly Sins (yup, that thoroughly batshit setup is just the tip of the iceberg of bonkersness on offer in this movie). Yes, this IS set in the DC Extended Universe, Shazam sharing his world with Superman, Batman, the Flash et al, and there are numerous references (both overt and sly) to this fact throughout (especially in the cheeky animated closing title sequence), but it’s never laboured, and the film largely exists in its own comfortably enclosed narrative bubble, allowing us to focus on Billy, his alter ego and in particular his clunky (but oh so much fun) bonding experiences with his new foster family, headed by former foster kid couple Victor and Rosa Vazquez (The Walking Dead’s Cooper Andrews and Marta Milans) – the most enjoyably portions of the film, however, are when Billy explores the mechanics and limits of his newfound superpowers with his new foster brother Freddy Freeman (It: Chapter One’s Jack Dylan Glazer), a consistently hilarious riot of bad behaviour, wanton (often accidental) destruction and perfectly-observed character development, the blissful culmination of a gleefully anarchic sense of humour that, until recently, has been rather lacking in the DCEU but which is writ large in bright, wacky primary colours right through this film. Sure, there are darker moments, particularly when Sivana sets loose his fantastic icky brood of semi-incorporeal monsters, and these scenes are handled with seasoned skill by director David F. Sandberg, who cut his teeth on ingenious little horror gem Lights Out (following up with Annabelle: Creation, but we don’t have to dwell on that), but for the most part the film is played for laughs, thrills and pure, unadulterated FUN, almost never taking itself too seriously, essentially intended to do for the DCEU what Guardians of the Galaxy and Ant-Man did for the MCU, and a huge part of its resounding success must of course be attributed to the universally willing cast. Levy’s so ridiculously pumped-up he almost looks like a special effect all on his own, but he’s lost none of his razor-sharp comic ability, perfectly encapsulating a teenage boy in a grown man’s body, while his chemistry with genuine little comedic dynamo Glazer is simply exquisite, a flawless balance shared with Angel, who similarly excels at the humour but also delivers quality goods in some far more serious moments too, while the rest of Billy’s newfound family are all brilliant, particularly ridiculously adorable newcomer Faithe Herman as precocious little motor-mouth Darla; Djimon Hounsou, meanwhile, adds significant class and gravitas to what could have been a cartoonish Gandalf spoof, and Mark Strong, as usual, gives great bad guy as Sivana, providing just the right amount of malevolent swagger and self-important smirk to proceedings without ever losing sight of the deeper darkness within. All round, this is EXACTLY the kind of expertly crafted superhero package we’ve come to appreciate in the genre, another definite shot in the arm for the DCEU that holds great hope for the future of the franchise, and some of the biggest fun I’ve had at the cinema so far this year. Granted, it’s still not a patch on the MCU, but the quality gap does finally look to be closing …

5. ALITA: BATTLE ANGEL – y’know, there was a time when James Cameron was quite a prolific director, who could be counted upon to provide THE big event pic of the blockbuster season. These days, we’re lucky to hear from him once a decade, and now we don’t even seem to be getting that – the dream project Cameron’s been trying to make since the end of the 90s, a big live action adaptation of one of my favourite mangas of all time, Gunnm (or Battle Angel Alita to use its more well-known sobriquet) by Yukito Kishiro, has FINALLY arrived, but it isn’t the big man behind the camera here since he’s still messing around with his intended FIVE MOVIE Avatar arc. That said, he made a damn good choice of proxy to bring his vision to fruition – Robert Rodriguez is, of course a fellow master of action cinema, albeit one with a much more quirky style, and this adap is child’s play to him, the creator of the El Mariachi trilogy and co-director of Frank Miller’s Sin City effortlessly capturing the dark, edgy life-and-death danger and brutal wonder of Kishiro’s world in moving pictures. 300 years after the Earth was decimated in a massive war with URM (the United Republics of Mars) known as “the Fall”, only one bastion of civilization remains – Iron City, a sprawling, makeshift community of scavengers that lies in the shadow of the floating city of Zalem, home of Earth’s remaining aristocracy. Dr. Dyson Ido (Christoph Waltz) runs a clinic in Iron City customising and repairing the bodies of its cyborg citizens, from the mercenary “hunter killers” to the fast-living players of Motorball (a kind of supercharged mixture of Rollerball and Death Race), one day discovering the wrecked remains of a female ‘borg in the junkyard of scrap accumulated beneath Zalem. Finding her human brain is still alive, he gives her a new chassis and christens her Alita, raising her as best he can as she attempts to piece together her mysterious, missing past, only for them both to discover that the truth of her origins has the potential to tear their fragile little world apart forever. The Maze Runner trilogy’s Rosa Salazar is the heart and soul of the film as Alita (originally Gally in the comics), perfectly bringing her (literal) wide-eyed innocence and irrepressible spirit to life, as well as proving every inch the diminutive badass fans have been expecting – while her overly anime-styled look might have seemed a potentially jarring distraction in the trailers, Salazar’s mocap performance is SO strong you’ve forgotten all about it within the first five minutes, convinced she’s a real, flesh-and-metal character – and she’s well supported by an exceptional ensemble cast both new and well-established. Waltz is the most kind and sympathetic he’s been since Django Unchained, instilling Ido with a worldly warmth and gentility that makes him a perfect mentor/father-figure, while Spooksville star Keean Johnson makes a VERY impressive big screen breakthrough as Hugo, the streetwise young dreamer with a dark secret that Alita falls for in a big way, Jennifer Connelly is icily classy as Ido’s ex-wife Chiren, Mahershala Ali is enjoyably suave and mysterious as the film’s nominal villain, Vector, an influential but seriously shady local entrepreneur with a major hidden agenda, and a selection of actors shine through the CGI in various strong mocap performances, such as Deadpool’s Ed Skrein, Derek Mears, From Dusk Til Dawn’s Eiza Gonzalez and a thoroughly unrecognisable but typically awesome Jackie Earle Haley. As you’d expect from Rodriguez, the film delivers BIG TIME on the action front, unleashing a series of spectacular set-pieces that peak with Alita’s pulse-pounding Motorball debut, but there’s a pleasingly robust story under all the thrills and wow-factor, riffing on BIG THEMES and providing plenty of emotional power, especially in the heartbreaking character-driven climax – Cameron, meanwhile, has clearly maintained strict control over the project throughout, his eye and voice writ large across every scene as we’re thrust headfirst into a fully-immersive post-apocalyptic, rusty cyberpunk world as thoroughly fleshed-out as Avatar’s Pandora, but most importantly he’s still done exactly what he set out to do, paying the utmost respect to a cracking character as he brings her to vital, vivid life on the big screen. Don’t believe the detractors – this is a MAGNIFICENT piece of work that deserves all the recognition it can muster, perfectly set up for a sequel that I fear we may never get to see. Oh well, at least it’s renewed my flagging hopes for a return to Pandora …

4. HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD – while I love Disney and Pixar as much as the next movie nut, since the Millennium my loyalty has been slowly but effectively usurped by the consistently impressive (but sometimes frustratingly underappreciated) output of Dreamworks Animation Studios, and in recent years in particular they really have come to rival the House of Mouse in both the astounding quality of their work and their increasing box office reliability. But none of their own franchises (not even Shrek or Kung Fu Panda) have come CLOSE to equalling the sheer, unbridled AWESOMENESS of How to Train Your Dragon, which started off as a fairly loose adaptation of Cressida Cowell’s popular series of children’s stories but quickly developed a very sharp mind of its own – the first two films were undisputable MASTERPIECES, and this third and definitively FINAL chapter in the trilogy matches them to perfection, as well as capping the story off with all the style, flair and raw emotional power we’ve come to expect. The time has come to say goodbye to diminutive Viking Hiccup (Jay Baruchel, as effortlessly endearing as ever) and his adorable Night Fury mount/best friend Toothless, fiancée Astrid (America Ferrera, still tough, sassy and WAY too good for him), mother Valka (Cate Blanchett, classy, wise and still sporting a pretty flawless Scottish accent) and all the other Dragon Riders of the tiny, inhospitable island kingdom of Berk – their home has become overpopulated with scaly, fire-breathing denizens, while a trapper fleet led by the fiendish Grimmel the Grisly (F. Murray Abraham delivering a wonderfully soft-spoken, subtly chilling master villain) is beginning to draw close, prompting Hiccup to take up his late father Stoick (Gerard Butler returning with a gentle turn that EASILY prompts tears and throat-lumps) the Vast’s dream of finding the fabled “Hidden World”, a mysterious safe haven for dragon-kind where they can be safe from those who seek to do them harm. But there’s a wrinkle – Grimmel has a new piece of bait, a female Night Fury (or rather, a “Light Fury”), a major distraction that gets Toothless all hot and bothered … returning witer-director Dean DeBlois has rounded things off beautifully with this closer, giving loyal fans everything they could ever want while also introducing fresh elements such as intriguing new environments, characters and species of dragons to further enrich what is already a powerful, intoxicating world for viewers young and old (I particularly love Craig Ferguson’s ever-reliable comic relief veteran Viking Gobber’s brilliant overreactions to a certain adorably grotesque little new arrival), and like its predecessors this film is just as full of wry, broad and sometimes slightly (or not so slightly) absurd humour and deep down gut-twisting FEELS as it is of stirring, pulse-quickening action sequences and sheer, jaw-dropping WONDER, so it’s as nourishing to our soul as it is to our senses. From the perfectly-pitched, cheekily irreverent opening to the truly devastating, heartbreaking close, this is EXACTLY the final chapter we’ve always dreamed of, even if it does hurt to see this most beloved of screen franchises go. It’s been a wild ride, and one that I think really does CEMENT Dreamworks’ status as one of the true giants of the genre …

3. US – back in 2017, Jordan Peele made the transition from racially-charged TV and stand-up comedy to astounding cinemagoers with stunning ease through his writer-director feature debut Get Out, a sharply observed jet black comedy horror with SERIOUS themes that was INSANELY well-received by audiences and horror fans alike. Peele instantly became ONE TO WATCH in the genre, so his follow-up feature had A LOT riding on it, but this equally biting, deeply satirical existential mind-bender is EASILY the equal of its predecessor, possibly even its better … giving away too much plot detail would do great disservice to the many intriguing, shocking twists on offer as middle class parents Adelaide and Gabe Wilson (Black Panther alumni Lupita Nyong’o and Winston Duke) take their children, Zora (Shahadi Wright Joseph) and Jason (Evan Alex), to Santa Cruz on vacation, only to step into a nightmare as a night-time visitation by a family of murderous doppelgangers signals the start of a terrifying supernatural revolution with potential nationwide consequences. The idea at the heart of this film is ASTOUNDINGLY original, quite an achievement in a genre where just about everything has been tried at least once, but it’s also DEEPLY subversive, as challenging and thought-provoking as the themes visited in Get Out, but also potentially even more wide-reaching. It’s also THOROUGHLY fascinating and absolutely TERRIFYING, a peerless exercise in slow-burn tension and acid-drip discomfort, liberally soaked in an oppressive atmosphere so thick you could choke on it if you’re not careful, such a perfect horror master-class it’s amazing that this is only Peele’s second FEATURE, never mind his sophomore offering IN THE GENRE. The incredibly game cast really help, too – the four leads are all EXCEPTIONAL, each delivering fascinatingly nuanced performances in startlingly oppositional dual roles as both the besieged family AND their monstrous doubles, a feat brilliantly mimicked by Mad Men and The Handmaid’s Tale star Elisabeth Moss, Tim Heidecker and teen twins Cali and Noelle Sheldon as the Wilsons’ friends, the Tylers, and their similarly psychotic mimics. The film is DOMINATED, however, by Oscar-troubler Nyong’o, effortlessly holding our attention throughout the film with yet another raw, intense, masterful turn that keeps up glued to the screen from start to finish, even as the twists get weirder and more full-on brain-mashy. Of course, while this really is scary as hell, it’s also often HILARIOUSLY funny, Peele again poking HUGE fun at both his target audience AND his allegorical targets, proving that scares often work best when twinned with humour. BY FAR the best thing in horror so far this year, Us shows just what a master of the genre Jordan Peele is – let’s hope he’s here to stay …

2. CAPTAIN MARVEL – before the first real main event of not only the year’s blockbusters but also, more importantly, 2019’s big screen MCU roster, Marvel Studios president Kevin Feige and co dropped a powerful opening salvo with what, it turns out, was the TRUE inception point of the Avengers Initiative and all its accompanying baggage (not Captain America: the First Avenger, as we were originally led to believe). For me, this is simply the MCU movie I have MOST been looking forward to essentially since the beginning – the onscreen introduction of my favourite Avenger, former US Air Force Captain Carol Danvers, the TRUE Captain Marvel (no matter what the DC purists might say), who was hinted at in the post credits sting of Avengers: Endgame but never actually seen. Not only is she the most powerful Avenger (sorry Thor, but it’s true), but for me she’s also the most badass – she’s an unstoppable force of (cosmically enhanced) nature, with near GODLIKE powers (she can even fly through space without needing a suit!), but the thing that REALLY makes her so full-on EPIC is her sheer, unbreakable WILL, the fact that no matter what’s thrown at her, no matter how often or how hard she gets knocked down, she KEEPS GETTING BACK UP. She is, without a doubt, the MOST AWESOME woman in the entire Marvel Universe, both on the comic page AND up on the big screen. Needless to say, such a special character needs an equally special actor to portray her, and we’re thoroughly blessed in the inspired casting choice of Brie Larson (Room, Kong: Skull Island), who might as well have been purpose-engineered exclusively for this very role – she’s Carol Danvers stepped right out of the primary-coloured panels, as steely cool, unswervingly determined and strikingly statuesque as she’s always been drawn and scripted, with just the right amount of twinkle-eyed, knowing smirk and sassy humour to complete the package. Needless to say she’s the heart and soul of the film, a pure joy to watch throughout, but there’s so much more to enjoy here that this is VERY NEARLY the most enjoyable cinematic experience I’ve had so far this year … writer-director double-act Anna Boden and Ryan Fleck may only be known for smart, humble indies like Half Nelson and Mississippi Grind, but they’ve taken to the big budget, all-action blockbuster game like ducks to water, co-scripting with Geneva Robertson-Dworet (writer of the Tomb Raider reboot movie and the incoming third Guy Ritchie Sherlock Holmes movie) to craft yet another pitch-perfect MCU origin story, playing a sneakily multilayered, misleading game of perception-versus-truth as we’re told how Carol got her powers and became the unstoppable badass supposedly destined to turn the tide in a certain Endgame … slyly rolling the clock back to the mid-90s, we’re presented with a skilfully realised “period” culture clash adventure as Carol, an super-powered warrior fighting for the Kree Empire against the encroaching threat of the shape-shifting Skrulls, crash-lands in California and winds up uncovering the hidden truth behind her origins, with the help of a particular SHIELD agent, before he wound up with an eye-patch and a more cynical point-of-view – yup, it’s a younger, fresher Nick Fury (the incomparable Samuel L. Jackson, digitally de-aged with such skill it’s really just a pure, flesh-and-blood performance). There’s action, thrills, spectacle and (as always with the MCU) pure, skilfully observed, wry humour by the bucket-load, but one of the biggest strengths of the film is the perfectly natural chemistry between the two leads, Larson and Jackson playing off each other BEAUTIFULLY, no hint of romantic tension, just a playfully prickly, banter-rich odd couple vibe that belies a deep, honest respect building between both the characters and, clearly, the actors themselves. There’s also sterling support from Jude Law as Kree warrior Yon-Rogg, Carol’s commander and mentor, Ben Mendelsohn, slick, sly and surprisingly seductive (despite a whole lot of make-up) as Skrull leader Talos, returning MCU-faces Clark Gregg and Lee Pace as rookie SHIELD agent Phil Coulson (another wildly successful de-aging job) and Kree Accuser Ronan, Annette Bening as a mysterious face from Carol’s past and, in particular, Lashana Lynch (Still Star-Crossed, soon to be seen in the next Bond) as Carol’s one-time best friend and fellow Air Force pilot Maria Rambeau, along with the impossible adorable Akira Akbar as her precocious daughter Monica … that said, the film is frequently stolen by a quartet of ginger tabbies who perfectly capture fan-favourite Goose the “cat” (better known to comics fans as Chewie). This is about as great as the MCU standalone films get – for me it’s up there with the Russo’s Captain America films and Black Panther, perfectly pitched and SO MUCH FUN, but with a multilayered, monofilament-sharp intelligence that makes it a more cerebrally satisfying ride than most blockbusters, throwing us a slew of skilfully choreographed twists and narrative curveballs we almost never see coming, and finishing it off with a bucket-load of swaggering style and pure, raw emotional power (the film kicks right off with an incredibly touching, heartfelt tear-jerking tribute to Marvel master Stan Lee). Forget Steve Rogers – THIS is the Captain us MCU fans need AND deserve, and I am SO CHUFFED they got my favourite Avenger so totally, perfectly RIGHT. I can die happy now, I guess …

1. AVENGERS: ENDGAME – the stars have aligned and everything is right with the world – the second half of the ridiculously vast, epic, nerve-shredding and gut-punching MCU saga that began with last year’s Avengers: Infinity War has FINALLY arrived and it’s JUST AS GOOD as its predecessor … maybe even a little bit better, simply by virtue of the fact that (just about) all the soul-crushing loss and upheaval of the first film is resolved here. Opening shortly after the universally cataclysmic repercussions of “the Snap”, the world at large and the surviving Avengers in particular are VERY MUCH on the back foot as they desperately search for a means to reverse the damage wrought by brutally single-minded cosmic megalomaniac Thanos and his Infinity Stone-powered gauntlet – revealing much more dumps so many spoilers it’s criminal to continue, so I’ll simply say that their immediate plan really DOESN’T work out, leaving them worse off than ever. Fast-forward five years and the universe is a very different place, mourning what it’s lost and torn apart by grief-fuelled outbursts, while our heroes in particular are in various, sometimes better, but often much worse places – Bruce Banner/the Hulk (Mark Ruffallo) has found a kind of peace that’s always eluded him before, but Thor (Chris Hemsworth) really is a MESS, while Clint Barton/Hawkeye (Jeremy Renner) has gone to a VERY dark place indeed. Then Ant-Man Scott Lang (Paul Rudd) finds a way back from his forced sojourn in the Quantum Realm, and brings with him a potential solution of a very temporal nature … star directors the Russo Brothers, along with returning screenwriters Christopher Markus and Stephen McFeely, have once again crafted a stunning cinematic masterpiece, taking what could have been a bloated, overloaded and simply RIDICULOUS narrative mess and weaving it into a compelling, rich and thoroughly rewarding ride that, despite its THREE HOURS PLUS RUNNING TIME, stays fresh and interesting from start to finish, building on the solid foundations of Infinity War while also forging new ground (narratively speaking, at least) incorporating a wonderfully fresh take on time-travel that pokes gleeful fun at the decidedly clichéd tropes inherent in this particular little sub-genre. In fact this is frequently a simply HILARIOUS film in its own right, largely pulling away from the darker tone of its predecessor by injecting a very strong vein of chaotic humour into proceedings, perfectly tempering the more dramatic turns and epic feels that inevitably crop up, particularly as the stakes continue to rise. Needless to say the entire cast get to shine throughout, particularly those veterans whose own tours of duty in the franchise are coming to a close, and as with Infinity War even the minor characters get at least a few choice moments in the spotlight, especially in the vast, operatic climax where pretty much the ENTIRE MCU cast return for the inevitable final showdown. It’s a masterful affair, handled with skill and deep, earnest respect but also enough irreverence to keep it fun, although in the end it really comes down to those big, fat, heart-crushing emotional FEELS, as we say goodbye to some favourites and see others reach crossroads in their own arcs that send them off in new, interesting directions. Seriously guys, take a lot of tissues, you really will need them. If this were the very last MCU film ever, I’d say it’s a PERFECT piece to go out on – thankfully it’s not, and while it is the end of an era the franchise looks set to go on as strong as ever, safe in the knowledge that there’s plenty more cracking movies on the way so long as Kevin Feige and co continue to employ top-notch talent like this to make their films. Ten years and twenty-two films down, then – here’s to ten and twenty-two more, I say …

#movies 2019 #glass #glass movie #pet sematary #prospect #prospect movie #dragged across concrete #shazam!#alita battle angel #how to train your dragon the hidden world #us #us movie #Captain Marvel #avengers endgame #awesome sauce

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julesdap · 2 years

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absolute worst thing the silt verses could ever do to me (make me have emotions for a bad father character)

#listen i cannot be this deep in my feelings for dennis duplass. i won’t survive it #julestxt #he’s too complex okay i’m not equipped to deal with bad parental figures who are whole people. i need therapy for that #but the paige-hayward-dennis plot was soooooo. flawlessly executed okay

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aion-rsa · 4 years

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Best Horror Movies on Hulu

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Editor’s Note: This post is updated regularly. Bookmark this page and come back often to see the additions to the best horror movies on Hulu.

Updated for September 2020

Horror can come from anywhere: an unfamiliar European hostel, a remote sleepaway camp in the woods or even just in the comfy confines of the human brain. Every now and then it can be fun to reconnect with that child-like portion of our minds that is truly susceptible to irrational fear. The best way is to merely just hear a good scary story.

But perhaps the best place to find horror is on your friendly neighborhood Hulu. Hulu is best known for its TV comedy offerings but that doesn’t mean it’s lacking in pure terror.

Here is your list of the best horror movies on Hulu.

The Lodge

Directed by Austrian filmmakers Veronika Franz and Severin Fiala (the harrowing Goodnight Mommy), The Lodge stars an excellent Riley Keough as Grace, a troubled young woman in love with Richard (Richard Madden) a journalist who wrote a book about the suicide cult she once belonged to and is the only survivor of. Their relationship triggers Richard’s estranged wife (Alicia Silverstone) to commit suicide, leaving the former couple’s two children devastated.

Six months later, Richard, Grace and the children head up to Richard’s remote winter lodge in an effort for all of them to heal. But a series of unexplained events occur that may be tied to Grace’s past or the death of the children’s mother — or both. The Lodge may stumble occasionally through some shaky plot turns, but the movie positively reeks with dread and leads to a thoroughly unsettling finish.

Wounds

Based on a novella called The Visible Filth by acclaimed horror writer Nathan Ballingrud, this Hulu original stars Armie Hammer as Will, a New Orleans bartender whose discovery of an abandoned mobile phone in his place of business portends the arrival of an unspeakable evil.

British-Iranian director Babek Anvari, who made 2016’s supremely eerie Under the Shadow, creates an atmosphere of extreme dread and rot here, from the cockroaches Will is constantly killing behind the bar to the frightening images and sounds that keep appearing on the phone he finds. Much is left unexplained but that’s kind of the point: horror is often most effective when it can’t be rationalized.

Black Rock

Directed by Katie Aselton from a screenplay written by her husband, The Morning Show Emmy nominee Mark Duplass, Black Rock is a tense tale of three childhood friends whose attempts to reconnect as adults on a remote weekend retreat are thwarted by two men seeking vengeance over an accident.

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It’s a somewhat generic story elevated by the performances of Aselton herself, Kate Bosworth, and especially Lake Bell who goes full feral in the often brutal fight for survival. The movie benefits from the presence of all three women even if the scenario itself is one we’ve seen countless times before.

Ghost Stories

It’s rare for a horror film to be adapted from a play, but that’s the case for this anthology-style film written and directed by Jeremy Dyson and Andy Nyman, who also penned the stage show. Nyman stars as well as Philip Goodman, a professor who devotes his career to debunking the paranormal.

His mission is put to the test in the three stories presented within the film’s framework, which feature Martin Freeman (Black Panther), Paul Whitehouse and Alex Lawther as two men and a boy who come up against various spirits and even supposedly the Devil. Can Goodman prove them wrong even as reality itself seemingly begins to crumble around him? Find the answer by watching this acclaimed pic.

Friday the 13th Part 3

Not only was this 1982 slasher classic the first (and, to date, only) in the Friday the 13th series to be shown in 3D, it was also the movie in which unstoppable killer Jason Voorhees (Richard Brooker) donned his trademark hockey mask for the first time — creating one of horror’s most iconic images.

The plot finds another group of hapless teens venturing too close to the grounds of Camp Crystal Lake and falling prey to the hulking killing machine, who dispatches them in increasingly inventive and gruesome ways. That’s really all you get — and if you were lucky enough to see the movie in theaters, you got it in 3D. But you could do far worse (like, say, most of the succeeding entries in the franchise) if you’re looking to waste some time with a slasher flick.

Anna and the Apocalypse

The term “zombie musical” isn’t one you see thrown around very much, so this 2017 British feature might well have the genre all to itself. The cast of mostly unknown young actors, led by Ella Hunt in a star turn as Anna, sing, dance and fight their way through the title event — at Christmastime, no less.

Based on a short film by the late Ryan McHenry, the heartfelt Anna and the Apocalypse cites its influences as horror staples like The Evil Dead and Night of the Living Dead as well as classic musicals such as West Side Story, The Rocky Horror Picture Show and the “Once More, with Feeling” episode of Buffy the Vampire Slayer.

Midnighters

Midnighters is an excellent, tension-packed debut for screenwriter Alston Ramsay (who is also a former speechwriter for the Pentagon, weirdly).

Directed by Ramsay’s brother, Julius, Midnighters tells the story of a cover-up that becomes far more stressful than the crime. On New Year’s Eve, a struggling married couple strikes a pedestrian with their car. They opt to do the right thing and call the police. Lol/jk they opt to cover the crime and in the process begin a cycle of deceit, distrust, and madness.

Midnighters owes a lot of its success to Hitchcock, but then again – doesn’t virtually every thriller?

Mom and Dad

2017’s Mom and Dad has about the simplest and most terrifying premise one can imagine. You know your mom and dad – those two people who are supposed to support you through thick and thin? What if they…weren’t like that? What if they would stop and nothing to kill you?

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That’s what young Carly and Josh Ryan experience one day when one day some unexplained static starts transmitting through they television and suddenly their loving parents desperately want to kill them. Mom and Dad would be unsettling enough with any cast, but having Nicolas Cage and Selma Blair portray the unhinged parents is just icing on the cake.

Overlord

War is terrifying enough as is. It doesn’t need the addition of Nazi super soldier zombies. Thankfully the J.J. Abrams-produced Overlord decided to include them anyway.

Overlord picks up on the eve of D-Day when a paratrooper quad is sent in behind enemy lines to destroy a German radio tower located in an old church. Their plane is shot down and only a handful survivors land. Those who do will soon discover that the horror has just begun.

Children of the Corn

Fun fact: Children of the Corn has eight sequels. Eight! That’s one big drawback of the horror genre. It’s so difficult to come up with an equally original and scary idea that once something sticks, it’s financially prudent to run it into the ground.

Upcoming Stephen King Movies and TV Shows in Development

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Don’t let that keep you from watching the 1984 original Children of the Corn, however. The movie is based off of a Stephen King short story and follows a group of creepy kids and their adventures in ritualistic sacrifice. It’s a good time.

The Cabin in the Woods

A remote cabin in the woods is one of the most frequently occurring settings in all of horror. What better location for teenagers to be tormented by monsters, demons, or murderous hillbillies? Writer/Director Joss Whedon takes that tried and true setting and uses it as a jumping off points for one of the most successful metatextual horror movies in recent memory.

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By Alec Bojalad and 3 others

Like you would expect, The Cabin in the Woods features five college friends (all representing certain youthful archetypes, of course) renting a….well, a cabin in the woods. Soon things begin to go awry in a very traditional horror movie way. But then The Cabin in the Woods begins doling out some of the many tricks it has up its sleeve. This is a fascinating, very funny, and yet still creepy breakdown of horror tropes that any horror fan can enjoy.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Pet Sematary (2019)

After the classic Stephen King novel of the same name and Mary Lambert’s 1989 movie, what could there possibly be left to say about Pet Sematary? Quite a lot actually! Directors Kevin Kölsch and Dennis Widmyer breathe new life into this old tale…not unlike a certain “sematary” itself.

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Jason Clarke stars as Louis Creed, an ER doctor from Boston who moves his family to rural Ludlow, Maine to live a quieter life. Shortly into their stay, Louis and his wife Rachel (Amy Semeitz) experience an unthinkable tragedy. That’s ok though as neighbor Jud Crandall (John Lithgow) knows a very peculiar place that can help.

The post Best Horror Movies on Hulu appeared first on Den of Geek.

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superfan99records · 6 years

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Why Super Fan 99?

Super Fan’s name comes from a line in the cult 90s comedy ‘Swingers’. “I’m gonna make Wayne Gretzsky’s head bleed for super fan number 99 over there” You can watch the clip here - https://www.youtube.com/watch?v=CaAtavKP0-4

Our first logo incorporated ice hockey sticks in reference and was designed by British illustrator Nicholas Stevenson. Our current logo was created by Chicago based artist Shaun Miller. The label was born in August 2014.

What Styles of Music Does Super Fan Release?

We love all music which can transport you to a different time and place. In the past we have released powerpop, psych, dreampop, Americana, new wave and on occasion slightly louder indie-rock type stuff too. The common through line which links all of our releases is rich melodies that you can’t shake from your head.

I Work in a Record Shop, How Can We Stock Super Fan?

Sure! We don’t have distro at this point but are happy to stock you direct at cost price. Please mail us and we can work out the best way to get our releases in your store. Contact details are at the bottom of this page.

I’m a Radio DJ, How Can I Receive Advance Music to Play on My Show?

We send out WAVs along with press releases around four weeks prior to release. All exposure is good for a tiny label like ourselves so we’d love to hear one of our tunes get a spin on your show or podcast however small it may be. Don’t be shy, drop us a line and we’ll see you are added to our mail out. Contact details are at the bottom of this page.

I’d Like to Receive Advance Copies for Review, Can I Be Added to the Press List?

Of course! As with radio we hugely appreciate all press however small, even a tweet or a repost on Soundcloud is massively helpful to help get word out. Drop us a line and we’ll make sure you are added to the mail out. Contact details are at the bottom of this page.

I’d Love Super Fan to Consider Releasing My Music, Do You Accept Submissions?

Very much so. We love hearing your music and listen to every single submission. We are always on the look out for new artists to work with but should add that to date have only released one artist from a submission. Soundcloud or Bandcamp links are preferred along with a few lines about the project. Alternatively you can go old school and use snail mail to send a tape or CD. Contact details are at the bottom of the page. If we like it we will be sure to get back to you.

I’d Like to Be Notified About Pre-orders For Limited Edition Releases, How Can I Find Out Before They’re All Sold Out?

Many of our releases are extremely limited and can sell out in a day so it is best to subscribe to our mailing list to be notified as soon as they are on sale. Drop us a line with ‘hello’ in the subject line to the email address at the bottom of the page.

What Formats Do You Release On?

We are open to releasing on all formats, the more creative the better. In the past we have put out tapes, 5” lathes, 7” vinyl, 8” lathes, 10” lathes, 12” vinyl and CD as well as digital.

What Is A Lathe?

Lathe cutting is a process which utilizes a cutting method to record sound grooves on to a disc. It is an alternative to the modern practice of pressing vinyl with metal plates. This means you can do shorter runs unlike vinyl which is often made in runs upwards of 100.

Why Are Lathe Cuts More Expensive Than Regular Vinyl?

When a lathe is cut each copy must be set up by a human and the music is played out in real time like when you dub a cassette. This ancient technique is a delicate and time consuming process, essentially each copy is unique unlike mass produced vinyl. They are however lower fidelity often with some surface noise. Many consider them to be playable pieces of art due to the care which is taken in hand making them. All of our records are cut in Tuscon, Arizona and then shipped to us in the UK. This also adds to the cost due to import charges. They are however very collectable with some of ours trading for £50 on Discogs.

What Is £100 Pop Vids?

We set up £100 Pop Vids to make music promos to help promote our releases. The first was for Queen of Jeans track ‘Dance’ From there we continued to make more and have since made videos for Lolipop, Lame-O and Burger Records bands. Every video cost under £100 to make hence the name. We enjoy testing the boundaries of DIY video making. A great idea doesn’t have to cost the world.

Can I Do Work Experience at Super Fan?

We have been asked this a couple of times which is really lovely. At current the label is essentially a one man operation run out of a small studio flat. Like many small labels it is run on top of a day job so evenings and weekends are spent keeping things ticking over. We sadly don’t have the space or need for extra people just yet but please do still say hi as there may be other ways you can get involved. We’re always keen to meet photographers, graphic designers, illustrators, videographers, basically anyone who may be able to lend their skills to future projects.

I’d Like to Book a Super Fan Band, Who Do I Speak to?

We release bands from all over the globe spanning from the UK to France, the US, China and beyond. Obviously that means on many occasions it may be difficult for a band to reach your part of the world but you never know. Their tour may just be headed your way so feel free to mail us and we can put you in touch with the artists management or agent.

What Else Does Super Fan Love Outside of Music?

(in no order) Fulham FC, Guitar Pedals, Our cat Denny, Tiki Bars, The English Countryside, French New Wave Cinema, NBA Jam, Moomins, Peanuts, Tape Machines, Buffy, Dawson’s Creek, Apple Jacks, Nudie Suits, The Duplass Brothers, John Hughes Movies, Sofia Coppola Movies, Casio Watches, Zines, Daniel Clowes, Nintendo, Greta Gerwig and Travelling by Train.

Anything Else I Should Know?

Whether you are an artist/label/promoter/blogger/dj/fan we believe music is to be shared and celebrated. It is not a competition but more an ongoing discussion in which everyone is welcome. Say hi, let’s be friends. Super Fan loves you.

E: [email protected]

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weekendwarriorblog · 4 years

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The Weekend Warrior Home Edition May 1, 2020 – THE WRETCHED, VANILLA, DEERSKIN, BULL

Just think... this weekend would have been the start of the summer box office with Marvel’s Black Widow before COVID came along. Now, we’re waiting for anywhere from two to three months or longer for the next big studio release in movie theaters with so many other “big” movies already being dumped to digital.

This is yet another week with no movies in theaters unless you’re in driving distance to a drive-in (i.e. you have a car), but at least we have some great stuff to watch at home, including a few virtual film festivals and virtual cinemas.

The first major disaster brought on by the advent of COVID-19 was the cancellation of the annual SXSW Festival in Austin. The movie that was supposed to open the fest, Judd Apatow’s The King of Staten Island, starring Pete Davidson, was supposed to open SXSW in March and then play Tribeca earlier this month, but Universal reported earlier this week that it was going to release it via digital download on June 12, the same day it was going to get a theatrical release.

Amazon has teamed with SXSW to screen 39 projects, including seven features, that will screen free of charge on Amazon from April 27 through May 6. The four narrative features available are the British-Bulgarian dramedy Cat in the Wall from Mina Mileva and Vesela Kazakova, which is being compared to Ken Loch’s I, Daniel Blake. There’s also the Guatemalan romance Gunpowder Heart, the French period film Le Choc du Futur and the French sci-fi anthology, Selfie. The docs being offered are Karen Bernstein’s I’m Gonna Make You Love Me is described as “Fellini meets Motown” about one man’s search for self-acceptance, while Matt Riddlehoover’s My Darling Vivian about Johnny Cash’s first wife, Vivian Liberto, who gave the country singer four daughters. Last up is Alex Lee Moyer’s TFW no GW, a doc about the state of isolation, rejection and alienation that we all seemed to be feeling these days. There will also be a ton of shorts available that you can learn more about at The Hollywood Reporter.

The second weekend of the Virtual Oxford Film Festival will launch a few more feature premieres, as well as a virtual panel and the Fest Forward collection of experimental films. First up, on Friday, May 1 is a panel called “Creating Black Stories in Mississippi” at noon central time, and if you’re interested in that, you may want to check out the Mississippi Shorts, Getting to the Root and 70 Years of Blackness, which will now run through May 8, giving you more time to see them. Friday will also see the premieres of Daniel Lafrentz’s crime-drama The Long Shadow, preceded by Will Goss’ short, Sweet Steel. (Hey! I know Will Goss!) There will be a Zoom Q&A for the two movies on Wednesday, May 6, at 6pm Central. Also available Friday is Travis Beard’s doc, Rockabul, which is about the Afghan band District Unknown who fought against the USA’s counter-culture campaign by challenging freedom of expression and youth identify in Kabul with a QnA on May 8 at 8pm central. The Fest Forward Collection includes 8 international animated films from places like Estonia and Egypt, and those will have a virtual QnA on Saturday, May 2, at 1pm Central. (All of these Oxford QnAs and panels are recorded and available to watch for as long as the films are available to watch.) You can get tickets for all these movies and events on Eventive.

This week’s Featured Film is the Pierce Brothers’ (Brett and Drew Pierce) horror flick, THE WRETCHED (IFC Midnight), which was a nice surprise since I’m not as easy a lay when it comes to horror flicks as other “horror fan” movie writers. The film involves a somewhat quizzical premise that isn’t too apparent as it begins, as we’re not exactly sure what is going on as it begins. It stars John Paul Howard as Ben, a young man living with his father (Jamison Jones), who has separated from Ben’s mother, as the two of them work at the nearby marina over the summer. Ben is immediately picked on and bullied by the locals, but he’s more distracted by the odd behavior of the woman next door (played by Madelyn Stunenkel). I’m not going to go too far into spoiler territory but the premise does involve witchcraft and an ancient evil that’s cropped up in the small town and is causing the disappearance of many small children… maybe… most of their parents seem to forget they have kids as they follow under the spell of the evil Ben’s discovered.

This is just a fantastic little scarer that at times reminded me of the original Fright Night, and I was really impressed with what the Pierce Brothers, first of all by working with a cast of great lesser-known actors, but the visual FX are fantastic and every aspect of the film’s mood and tone is just about perfect. I guess I’ve seen so much low budget horror that doesn’t really match the standards or production values of even some of the smaller-budget Blumhouse movies.

While you may not be near any of the scattered drive-in across the country that will probably be playing the movie, I definitely recommend downloading and/or renting it if you’re a fan of quality horror. The Pierces are extremely talented filmmakers who I’m sure will be doing better things down the road. For me, this is right up there with The Invisible Man, as far as this year’s stronger horror films.

Out now on VOD and Digital is Will Dennis’ quirky road comedy VANILLA (Gravitas Ventures) about a comedian (Kelsea Bauman) who goes on a three-day road trip from New York to New Orleans with an ice cream entrepreneur (Dennis), to sell his van with a questionable past to his ex-girlfriend. Both of them see the trip as a date, of sorts, but they set up a number of rules and boundaries to make the trip work. It’s a pretty simple premise that’s made more fun by the unique elements Dennis introduces. Vanilla is a sweet, cute romantic movie with two actors appearing in their first movie that reminds me a little of the early work of the Duplass Brothers or Joe Swanberg where there’s a simplicity to the storytelling, but it’s really driven by the wonderful chemistry between the two leads. It’s kind of amazing how enjoyable this movie is considering the inexperience of both actors, and I hope this gets seen by more people. This is a wonderful discovery film that I was told played at the Lighthouse International Film Festival in Jersey and the Phoenix Film Festival, just a reminder why film festivals are so important!

Also on VOD and Digital this Friday is Annie Silverstein’s BULL (Samuel Goldwyn), starring Rob Morgan from Mudbound, Just Mercy and Netflix’s Daredevil. Amber Havard plays 14-year-old Kristal, a young troubled girl who is on her way to ending up in jail like her mother. After an incident where Kristal is in danger of going to juvie, she’s given a choice instead to help her next door neighbor, Morgan’s bull rider Abe Turner, with errands around his home. Kris soon discovers her own love for bull riding, as this unlikely relationship grows. I’m a big fan of Rob Morgan as an actor, because his work is highly-underrated, and I do have to say that Bull is a great vehicle for Morgan to have more of a leading role than he normally gets. He shines in that capacity, and Havard does a decent job in their scenes together, even though it’s a far lower key role. Then again, I thought this was a moderately decent indie that covered topics very similar to other movies, including Laure de Clermont-Tonnerre’s The Mustang last year and Chloé Zhao’s The Rider a year earlier. Unfortunately, the material and especially Silverstein’s writing isn’t up to par with those movies, and it took me a little longer to get into this vs. those other films. Oddly, this will probably be seen by more people due to its VOD release, and that’s fine since I’d love movies like this to find more of an audience even with its pacing issues.

Back in the VOD/digital world, we have a handful of new releases including Quentin (Rubber) Dupieux’s DEERSKIN (“Le Daim”) (Greenwich), which I got a chance to see at Rendezvous with French Cinema back in February before the world came to a screeching halt, and that series ended up also being sidelined. The movie stars Oscar winner Jean Dujardin from The Artist whose obsession with a designer deerskin jacket leads him into a life of crime as he tries to complete his all-deerskin wardrobe. I generally like Dupieux’s weird sense of humor, and though this is less of a genre film than Rubber, it’s an entertaining film as we watch Dujardin’s character get further and further into trouble as he becomes obsessed with making a movie… as well as abolishing the world of all other jackets besides his own. If that sounds weird like a strange premise, then you clearly don’t know Dupieux’s work, and maybe it’s not for you. Deerskin is a movie I fully appreciated, because it was so weird and you never know where it was going, even going into the realm of American Psycho as it went along. Dujardin’s expressive performance was quite fun to watch, plus it it also co-stars Adèle Haenel from Portrait of a Lady on Fire, for those who loved that movie. Again, not for everyone, but if you enjoy Dupieux’s strange filmmaking ethos then Deerskin is another highly original offering.

Film at Lincoln Center’s Virtual Cinema will also be playing Catalan filmmaker Albert Serra’s new film Liberté (Cinema Guild), following it being a selection at the 57th New York Film Festival last year. This one takes place in the 18th century where a group of “bewigged libertines” engage in “pansexual games of pain, torture, humiliation and other dissolute, Sadean pleasure.” Sounds like something that would never play in Middle America if not for being available across the country thanks to this Virtual Cinema. I can’t remember if I saw Serra’s other film, The Death of Louis XIV, but this doesn’t sound like something I would watch unless I had free time at a festival, and clearly, I didn’t have time for this one at least year’s NYFF.

Another foreign film to look out for via virtual cinema is César Diaz’s Belgian-Guatemalan film, Our Mothers (Nuestras Madres) (Outside Pictures), which will be available via Virtual Cinema Friday. Besides being the Belgian entry for the 92nd Academy Awards, it also won the Caméra d’Or at last year’s Cannes, where it premiered during Cannes International Critics Week. It stars Armando Espitia as young anthropologist Ernesto who works for the Forensic Foundation in Guatemala as the country is in the middle of trying the soldiers who began the country’s civil war. Ernesto’s job is to identify the bodies of the missing, including possibly his father whose went missing during the war. The project began as a documentary and then became a narrative film.

Semi-related to the above, Cinema Tropical will be releasing three new genre-breaking films from a new generation of Brazilian directors, the “Cinema Tropical Collection” also done in conjunction with Lincoln Center, beginning with Gabriel Martins and Maurílio’s In the Heart of the World on Thursday, April 30.

Another movie getting a “Virtual Cinema” release (i.e. VOD/Digital) is Alex Rivera and Cristina Ibarra’s “docu-thriller” THE INFILTRATORS (Oscilloscope), which tells the true story of two immigrants who are thrown into a detention center. Marco and Viri are members of the National Immigrant Youth Alliance, a group of young DREAMers who want to put a stop to unjust deportations by being put in detention themselves, a plan that doesn’t go the way they planned. The film cuts between documentary footage of the real “infiltrators” with reenactments of the events inside the detention story, so it’s part documentary and part drama.

Also, Kino Lorber will be releasing Beanpole director Kantemir Balagov’s 2017 debut film, Tesnota (Closeness), virtually on Friday to help assist New York arthouse, Anthology Film Archives. This one is set in 1998 Nalchik in the North Caucasus of Russia and focuses on 24-year-old Jewish girl Ilana who works in her father’s garage, and while celebrating her young brother David’s engagement, he and his fiancée are kidnapped, but the Jewish community won’t go to the police to pay the ransom, so Ilana and her parents have to figure out a way to save them on their own.

STREAMING AND CABLE

Lots of stuff on Netflix this week, including THE HALF OF IT, the new film from Alice Wu, her first movie as as director since her terrific 2004 debut, Saving Face! This one stars Leah Lewis as Ellie Chu, a cash-strapped teen who writes a love to the school’s jock but ends up becoming friends with him and falling for the girl he has a crush on. I haven’t watched it yet to review, but I’m looking forward to it being a nice twist on Netflix’s other teen-oriented romance films.

Ryan Murphy’s second series for Netflix, Hollywood, will debut its first season on Friday, this one co-created with Ian Brennan (Glee, Scream Queens). It takes place in a post-WWII Hollywood and tells the story of a group of actors and filmmakers trying to make it. The cast includes Darren Criss, Patti Lupone, Mira Sorvino, Rob Reiner, Samara Weaving AND Michelle Krusiec, who starred in Alice Wu’s Saving Face! (See how it’s all connecting together?)

Chris Bolan’s documentary A Secret Love, which premieres on Netflix Wednesday, about two women, Pat Henschel and pro baseball player Terry Donahue, who fell in love in 1947 but had to keep that love a secret for 65 years due to the prejudice against lesbians they would have had to face.

Starting on Amazon this Friday is Upload, the new series from Greg Daniels (The Office, Parks and Recreation), with the first season being made up of ten episodes. It stars Robbie Amell, who I got to interview last year for a small indie sci-fi film called Code 8. This is another dealing with life, death and the afterlife which seems to be a running theme through many series in recent years (such as Miracle Workers and The Good Place). In this one, Amell plays Nathan, a spoiled rich guy who ends up at Upload after a horrifying accident that takes his place, while Andy Allo plays the Upload “angel” assigned to Nathan who has to get him acclimated to his new afterlife. I’ve only watched the first episode of this so far, and it’s okay. I’m curious to see where it goes since it’s not a straight comedy perse like some of Daniels’ other work, and a lot is put on Amell’s shoulders to be funny, and Daniels is working with a lot of lesser-known actors for this one.

On Sunday, Showtime will launch the season debuts of Billions (Season 5) and the first season of Penny Dreadful: City of Angels.

Also, Lionsgate’s free movie offering this Friday is Damien Chazelle’s La La Land, my #1 movie of that year… thanks for nothing, #Schmoonlight!

Next week, more movies and shows not in theaters!

By the way, if you read this week’s column and have bothered to read this far down, feel free to drop me some thoughts at Edward dot Douglas at Gmail dot Com or drop me a note or tweet on Twitter. I love hearing from readers … honest!

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