inkamalinka
Интересующийся
Интересующийся
inkamalinka
Интересующийся
Интересующийся
- Сообщения
- 20
- Реакции
- 15
> In the Tall Grass
Director: Vincenzo Natali
Writers: Vincenzo Natali, Stephen King & Joe Hill (novella)
Cast: Laysla De Oliveira, Avery Whitted, Patrick Wilson, Will Buie Jr., Harrison Gilbertson
Netflix has tapped into the well that is Stephen King in a big way. But with the adaptation of , they’ve also got a handle on the next generation of horror authors with Joe Hill. The premise is simple: Passersby are called into a vast field of tall grass by people pleading for help, only to be unable to find their way back out again. But since this is a King & Son joint, abject horror obviously waits for them among the greenery…
of the new Netflix adaptation, our own Haleigh Foutch called the feature film “ambitious, imaginative, and artfully presented, taking King and Hill’s contained short and transforming it to a more expansive, sometimes confounding universe of horrors. In the Tall Grass doesn’t always work, but when it does, it’s compelling and gorgeous, and yet another film on the Netflix roster I wish more people had an opportunity to see in theaters.” That’s more than enough reason to add it to your watch-list today.
> Bird Box
Director: Susanne Bier
Writers: Eric Heisserer (screenplay), Josh Malerman (novel)
Cast: Sandra Bullock, Trevante Rhodes, John Malkovich, Sarah Paulson, Jacki Weaver, Rosa Salazar, Danielle Macdonald, Lil Rel Howery, Tom Hollander, Machine Gun Kelly, BD Wong, Pruitt Taylor Vince
A Netflix sensation, follows Sandra Bullock's reluctant mother-to-be who's forced to care for two young children after a devastating invasion takes away everyone's ability to see. Technically, the human beings in this post-apocalyptic scenario still can see if they're so inclined, but to do so is to invite madness and, ultimately, death. It's a clever gimmick that's on par with that of Hush and A Quiet Place, but is it strong enough on its own to carry the movie? Your mileage may vary.
> Apostle
Director: Gareth Evans
Writer: Gareth Evans
Cast: Dan Stevens, Richard Elfyn, Paul Higgins
[This excerpt comes from Haleigh Foutch's from Fantastic Fest 2018.]
You are not ready for . You may think you’re ready for Apostle, but this brutal piece of British folk horror boasts the kind of crazy butchery that will have you watching through squinted eyes and squirming in your seat. Director Gareth Evans, best known for his action masterpieces The Raid and The Raid 2, trades combat for carnage in his new Netflix film, building a sense of sickening tension for the first half before flaying flesh and mangling bodies with abandon when the cult craziness boils over.
Apostle tackles the subjects of faith and fringe society with a lot of heart and some batshit crazy zeal. This film loves its outsiders, even as it inflicts all manner of torment upon them, and Evans clearly has a blast creating a rich mythology to drop them in. It’s a surprising, sometimes shocking cult horror movie that mixes the legacy of The Wicker Man with carnal, fleshy frights and a hint of freaky folklore. It’ll make you groan and grimace through the torment, but it will get your heart racing in all the right ways, even when it occasionally stumbles over its own ambition.
> The Evil Dead
Director/Writer: Sam Raimi
Cast: Bruce Campbell, Ellen Sandweiss, Hal Delrich, and Betsy Baker
A true horror classic, you simply must see the original . The 1981 film tells the story of a group of college students who visit a remote cabin in the woods and subsequently fall prey to demonic possession. That’s it. That’s the plot. And the movie is wonderful. The secret sauce that makes The Evil Dead such a pleasure is the low-budget stylings of director Sam Raimi, who gives the camera its own personality and delights in the gory violence that besets the characters. While there is some humor, the true “horror comedy” tone of the franchise doesn’t fully come into play until Evil Dead 2, which is as much a remake of the original as it is a sequel. But in terms of pure cinema history and a prime example of young aspiring filmmakers just doing the dang thing rather than waiting for permission to make a movie, The Evil Dead is a must-see.
> Cargo
Director: Ben Howling, Yolanda Ramke
Writer: Yolanda Ramke
Cast: Martin Freeman, Anthony Hayes, Susie Porter, Caren Pistorius, Kris McQuade, Natasha Wanganeen, Bruce R. Carter, Simone Landers, David Gulpilil
You'd be forgiven for feeling a bit worn-out on the post-apocalyptic zombie sub-genre, but there's every reason to put that feeling aside when it comes to .
Cargo is a tightly focused thriller that's less concerned about shaking up this particular sub-genre and more intent on delivering solid performances from Freeman and the supporting cast. It's the interactions between the humans--strangers all, some of the same race and gender, some not--that drive home both the decency and innate inhumanity mankind is capable of. There are some Colonialist aspects of the storytelling that aren't fully fleshed out, to be honest, but Cargo delivers some creepy "zombies" and really makes you feel for the protagonists, a rare feat in this horror sub-genre.
> Gerald's Game
This review is a snippet of .
Director: Mike Flanagan
Writers: Mike Flanagan, Jeff Howard, Stephen King
Cast: Carla Gugino, Bruce Greenwood, Carl Struycken, Henry Thomas
is the impossible adaptation, but Flanagan has proven himself one hell of an idea man with his string of horror hits, and finding a way to make Gerald’s Game work is his most impressive feat yet. This is an excellent King adaptation. It’s an excellent psychological horror that investigates hard topics without flinching and without exploiting. It’s a soulful piece with its heart and its head firmly in the right place; a rejection of toxic masculinity, oppressive silence, and cycles of abuse. It’s an embrace of female strength, outright, and it’s as moving as it is consummately thrilling.
> Hush
Director: Mike Flanagan
Writers: Mike Flanagan, Kate Siegel
Cast: John Gallagher Jr., Kate Siegel, Michael Trucco, Samantha Sloyan
If you're looking for a taut psychological "final girl" thriller that isn't shy on violence but mostly avoids the pitfalls of sexualized assault, you'd do well to check out the 2016 film, . It's an interesting installment in the recent vogue of home invasion thrillers, but one that's quite focused on the deranged killer (Gallagher Jr.) and the object of his murderous obsession, Maddie (Siegel). The twist here is that Maddie is a deaf-mute, which provides an added twist to the menace present just outside the reach of her remaining senses and really ups the tension since audiences can hear everything the killer says.
Hush falls somewhere in line with films like You're Next, which featured a relatively more complex cast and plot but has the same pro-female survivalist feel, and I Spit on Your Grave, just without the overt sexual violence and exploitation. In that respect, Hush plays things a bit safer than more incendiary films, but it's also purer with respect to the spirit of the terror at the heart of the conflict. There are other tropes here that will irritate you, of course, but most of them are soon remedied. Even the music gets in on the act, playing throughout the movie in a subtle way that makes it almost disappear beneath ambient noise, at times fading out completely. Hush is a worthwhile addition to any horror library, not just Netflix's streaming edition.
> Under the Shadow
Director: Babak Anvari
Writers: Babak Anvari
Cast: Narges Rashidi, Avin Manshadi, Bobby Naderi, Ray Haratian, Arash Marandi
From Tehran comes , a politically tantalizing, angry tale of repressed spirits unleashed upon the world. Set in the 1980s, Babak Anvari’s story begins with a not-surprising yet nevertheless infuriating scene: Narges Rashidi’s Shideh, a wife and mother, is being refused re-entry to the medical college due to her leftist leanings during the Iran-Iraq War. Her well-meaning yet incessantly condescending husband doesn’t see the big deal, while her daughter can hardly pay attention beyond her dolly. It’s when the husband leaves for the front that things start getting really strange though, both in the supernatural way and the all-too-real way. Mysterious happenings, including Shideh’s daughter’s increasing madness and sickness, are blamed on the arrival of a fabled Djinn, a demonic force of great power, while a missile lands in the top floor of Shideh’s building without going off. The surreal experience of wartime in Iran only enflames the nightmarish conjuring of the supposed Djinn and its agents as it plagues Shideh. Anvari isn’t much for artifice but his sense of visual invention is apparent early on, especially when the Djinn begins tossing people around. Confined largely to one apartment complex, Under the Shadow is perhaps the boldest emblem of the repressed rage felt by women in Iran to be released since A Separation, and announces Anvari as one of the most promising young Iranian directors currently working.
