Aaarrgghhh! I didn’t quite make it. Today is the last day for Rondo voting and I still have four movies unseen. Still, 17 of 21, not bad.
SCREAM… I wasn’t that hugely fond of the original (and, despite the same title, this isn’t a remake), but its saving grace was its humor and its meta approach. This one has the meta, and in spades, but not the humor, not at all. And that’s a big loss. Sans humor, this is just another high school slasher.
It is nice to see David Arquette and the other returnees, but not even Dewey is funny. What a missed chance.
The movie does do a nice job of setting up some obvious jump scares…and then not delivering them. I appreciated that.
I’m not sure if it’s the movie, or if I’ve changed, but there’s just no “fun” in these killings. I know how that sounds, but you know what I mean.
Courteney Cox used to be one of the most gorgeous women ever. Now…Courteney Cox used to be one of the most gorgeous women ever. And I’m not talking about the ravages of time here. That happens to all of us. I would however, like to have a word with her nip and tuck team. I’m sure that the sagging and wrinkling of age is tougher on beautiful people than on the rest of us…still….
I’m beginning to think that slashers—which were never exactly fonts of invention—now have NO new ideas at all.
I could easily have written this movie, or half of it anyway. At least ten times I spoke the next line of dialogue before the movie character did. Can you say predictable? Can you say programmatic? Yeah, I thought you could.
I thought sure they were setting up a last reel ‘Arbogast’, but no. They may have missed a nice homage there.
And, last but not least, it should have been 20-30 minutes shorter.
CRIMES OF THE FUTURE … it’s nice to have Cronenberg back in the fold. First time since EXISTENZ, I guess. And this one is both beautiful and horrible to look at.
When I saw Fellini’s CITY OF WOMEN, lo those many years ago, I realized it was not a great film, but I was overwhelmed by the sheer imagination on display. Cronenberg’s imagination is nearly at the same level, just in a much more confined arena. Hey, long live the new flesh, baby!
Question: How are the James Bond films unlike the other movies in Lea Seydoux’s filmography? Answer: For 007 she keeps her clothes on.
I like Viggo, but not his whisper acting. I do understand that some of it comes from his character’s illnesses and weaknesses, still…speak up, Viggo.
Favorite line: ‘I enjoy trauma.’
THE MENU … Anya Taylor-Joy acts and sounds like the all-American girl next door, but don’t let her fool ya. Just look at her. That is not an earthling, my friends.
The movie is unexpected and “different”. It’s hard to explain how welcome and refreshing “different” can be.
This one is very good indeed. Great settings, great cast, interesting story.
Least believable moment: Anya Taylor-Joy chowing down on a cheeseburger. That girl doesn’t look as if she’s ingested a cheeseburger’s worth of calories in her life.
I liked this one.
BARBARIAN … A disappointment, ultimately. It starts out strong. Creepy stuff, good actors, interesting characters, and a set-up which keeps the viewer in genuine suspense. Then it shifts gears, and it’s still interesting but less so. Then another turn and it’s fairly standard stuff. Too bad.
Early on we get a very good, not entirely predictable, jump scare.
When the young lady goes down into the weird, mysterious cellar to investigate after she’s boldly proclaimed she’d never go down there again, I flashed back on something I heard from a guy in a movie audience long ago. The movie was Italian horror and, yes, the leading lady was going down to the basement of this ultra-creepy house to check out the weird, spooky noises. As she opened the basement door, a guy in the audience offered good advice. He yelled, “Bitch, you go down there you deserve what you get.”
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