THE HAUNTING OF BLY MANOR (2020)

The ‘Haunting of…’ series really has a lock on what a ghost story traditionally is — more a melancholic tone of trapped souls and tragedy than sudden loud noises and cheap jump scares.

This is the kind of horror that seeps into your dreams, but the more time spent in the manor the less frightening these ghosts are and the sadder the memories of their stories become.

The same tricks abound as the first season — figures lurking unnoticed in the background, a pervasive sense of dread, overlapping narratives. Production design is excellent, the cast is fantastic, the ghosts are unsettling and sad.

Not as scary as the first season, and much slower, but the anthology setup is definitely a winner. I’m always keen to see what Mike Flanagan comes up with next.

Enjoyed it, nice to have a little closure on the bad dreams too.

HORSE GIRL (2020)

A descent into a fragmenting mind that at first seems like it might land too far the side of twee and meet-cute but veers off into the strange and tragic.

Alison Brie paints a convincing picture of someone suddenly and very rapidly losing their mind to PTSD in a world of pastel mundanity that is both tonally light while uncomfortably grounded.

The sort of weird indie project that Netflix excels at platforming, worth your time if that’s anything like your jam.

I’M THINKING OF ENDING THINGS (2020)

A young woman goes on a road trip to meet her new(ish) boyfriend’s parents. And… uh… that does happen… but also…

It’s a more successful synthesis of dream logic than anything of recent memory — trippy, unsettling and weird, but just grounded enough to keep you curious and engaged while simultaneously being alienated and slightly uncomfortable.

So much hinges on great anchoring performances from Jessie Buckley and Jesse Plemons, and any show that Charlie Kaufman wants to put on is worth admission just to see what he’s up to this time around.

This is the movie that Aronofsky’s ‘mother!’ wishes it was, and only a fraction as heavyhanded and self-important.

Do not watch any trailers. Go along for the roadtrip if you don’t mind getting no easy answers.

DARK (s01-03)

An elegant, intricate knot. The sort of story that screenwriters all wish they were clever enough to pull off this effectively.

It’s just the right length, brilliantly self-contained and full of endearing characters and so much mystery that you’ll be going right back to the start to figure out where that thread you lost went.

Yes, it’s complex and can be labyrinthine and hard to follow at times, but the creators have done an incredibly impressive job of leaving breadcrumbs in everything from casting to production design. Seriously, the casting of actors as older/younger counterparts of themselves is frequently astounding.

And the plot. Ooooooooh the plot. Young boys start going missing around a small German town, thirty-three years to the day after a similar rash of disappearances happened and we see the effects of this ripple through a small community being affected for a second time in a generation. But what is actually going on is truly best left to be discovered yourself.

While the third season threatened to keel over with another burst of complexity, ultimately I felt it stuck the landing and was genuinely disappointed when we reached the end to find there was none left to be revealed, when the knot showed how thoughtfully it had been tied right from the start.

Haunting, moody and engaging. Truly, one of the great modern mystery/sci-fi shows. Highly recommended.

EUROVISION: Fire Saga Story or whatever (2020)

I’m not gonna spend time drawing anything for this one. It sucks.

Dan Stevens and Rachel McAdams’ charisma are entirely wasted on two hours of unwritten jokes and Will Ferrell improvising badly between occasional bright moments of Eurovision ridiculousness that are neither a love letter to the song contest nor anything approaching a satire.

There’s a good pretense for a film here but this execution is fucking atrocious. Comedy is an extremely generous classification.

Skip it.

REVIEW SPECTACULAR 7: Revenge of the Medium Movies

Every once in a while I remember a bunch of films that I’ve recently watched which didn’t leave enough of an impression to want to paint them, so I compile them into a single post. This is one of those posts:

GUNS AKIMBO
BLOODSHOT
JUMANJI 2
DOLITTLE
DOLEMITE IS MY NAME
FANTASTIC BEASTS
A WRINKLE IN TIME
WRECK IT RAPLH 2
RAMPAGE

Continue reading “REVIEW SPECTACULAR 7: Revenge of the Medium Movies”

BOOKSMART (2019)

One of the best highschool movies ever.

I’m an entire highschool graduate’s lifetime removed from that part of my life now, but this is such a well executed, funny, sincere comedy that I was flashed back to that long gone headspace of hormones and excitement for the next phase of adulthood.

The broad strokes are thus: two best friends, on the eve of their graduation, realise that they’ve spent their whole time being acadamic at the expense of almost anything else and so make a pact to go to the big party at the popular kid’s house and get loose. Hijinks ensue.

So much of the humour comes from an unbridled kind of shameless loving and supportive friendship at the heart — it’s really easy to fall on easy beats of teenagers being awful and cruel and crude so it’s great to be taken on a ride that isn’t mean-spirited and doesn’t punch down while still being hilarious (see also: BLOCKERS).

It’s well written, light and fun. Worth your time.

THE PLATFORM (2020)

CUBE, except vertical and the levels represent society. Low budget sci-fi horror with a decent hook and some visceral, nasty things to show you.

Fairly blunt in its sociopolitical metaphor, but it’s not really trying to be clever beyond making the broad strokes of commentary. It’s fairly plain what it’s getting at, but beyond face-value it doesn’t really say anything much deeper.

Stomach churning at turns, nihilistic at others, ultimately it’s an okay thought experiment that isn’t entirely sure what to do with its premise beyond the obvious.

Worth a watch, just not over dinner.

CASTLEVANIA s03

Still the best videogame adaptation of any sort, and this latest season sees gory, bloody action tempered by an expansion of the cast, new mysteries and a deeper exploration of personalities following the climax of season two.

Perhaps slower and more contemplative than the preceding seasons, there’s a lot of work being put into building out the world and the lore towards… well, it’s not entirely clear yet, but I’m looking forward to seeing where it’s going.

If you’ve been enjoying this so far you should find plenty to like here. It’s great. Absolutely not for kids.

Recommended.

KINGDOM: s02 (2020)

Zombie plague + feudal Korea + beautiful cinematography + devious political machinations = an absolute winner following a similarly great first season.

Lots of twists and turns, great choreography and characters. It’s on Netflix now.

Highly recommended.