beatrice_gangi Reviews

Beau Is Afraid (2023)

Feeling sad about going home, Beau?

[9/10 · 30 April 2023]

Beau is Afraid is easily the most experimental movie yet directed by the talented filmmaker Ari Aster, as well as another A24 production bet. The film is enjoyable both as surreal, grotesque and unpredictable odyssey and as a true interpretive challenge, in which the viewer is required to make an active effort in understanding the meaning behind the picture.

Interesting interpretative key, is that of a journey, not physical but mental, that Beau undertakes in an attempt to emancipate himself from the toxic relationship he has with his mother, in which what we see on the screen is a combination of a psychological journey and the representation of reality as perceived by Beau.

To simplify the discussion, one can divide the film into four main sections.

In the first, Beau's "starting" psyche, as the beginning of his mental journey, is depicted. The grotesque, cruel, and menacing characters who inhabit Beau's neighborhood are the various representations of his paranoia, fears, and shame, but also of his mind's feeble attempts to "make him wake up" (represented by the notes passed under the doorway of his apartment). It is particularly interesting how, in order to enter his home, these characters wait for Beau to leave the glass door open, which they instead break through to exit the building. This shows how, intrusive thoughts completely dismantle the mind's defenses after managing to penetrate even once, leaving them destroyed to break in again and again, but more and more easily.

The second and third parts, that is, the momentary settling of the protagonist first in a new home, and later in a "home that is not a home" (the forest), represent the slow process by which Beau realizes how, building his own satisfying life, his own family, and his own path, implies the need to free himself from the conditioning of his mother, as much as of his cowardice and passivity.

The fourth and final part, the confrontation with his mother, leads to Beau's "killing of his mother," but also to his final and total undoing in his eventual inability to defend himself from her "immortal" judgment.

For those who are no strangers to mental health issues, the incredible work of writing and staging, and of portraying a fractured psyche, is evident.

While the movie does have flaws, including its somewhat exaggerated length, Beau is Afraid is a film that unabashedly discusses and addresses many of the most intrinsic fears of the human soul, exploring yes a sick and co-dependent relationship between mother and son, but also the human terrors that nurtured and engendered it.

Even in one of the most grotesque scenes, that of the identification of Beau's "monster in the attic" in the form of a giant, monstrous penis, while delirious, is but a nightmarish image of many sad truths inside Beau's heart: his fear of the other is in there, his lack of a father figure is in there, his inability to grow up, his having been emasculated when he was just a child, his mother's obsession with the risk of "being replaced by another woman", his fear of not being allowed to create his own family, his anger, shame, disgust, and guilt, are all represented in that one almost ridiculous and senseless figure.

Although it may be a difficult film, and not a particularly commercial one, Ari Aster has managed to create a truly profound, absurd, complex, and unique product, memorable and powerful, and it is fortunate that there are production companies like A24 ready to believe and invest in such projects.

A Good Person (2023)

This would be nothing without Florence Pugh

[6/10 · 14 April 2023]

My wish would be to finally see Florence Pugh in a film that matches her talent. A Good Person is nothing but another story of guilt and redemption written by someone who seems to have only a vague idea of how human feelings work. Florence Pugh is fantastic, as usual, but this is not enough to make the film anything more than passable.

Besides being mediocre, it is rather simplistic. Guilt and forgiveness are not and should not be easy, moody topics. Besides that, the film also fails to develop many good sub-plots (such as the short meeting with the old schoolmates), introducing them and then quickly throwing them away, bridling in an ending that is as far-fetched as it is hypocritical.

Pulse (2001)

The Best Horror Movie of the 21st Century

[10/10 · 4 March 2023]

The web is a prolific space for the circulation of what is not properly matter. Indeed, the moving force in Kiyoshi Kurosawa's movie Kairo is an Internet site that shows bleak glimpses of lonely, motionless, grieving, silent, or simply bizarre individuals. Their walls are covered with requests for help. A white script on a black background asks if you want to see a ghost, leaving the feeling that those people no longer belong in this world. Ultimately, Kairo exploits the atmospheres of gruesome scenarios to tell something else, in this case dissecting what may be the most intimate fears of human existence, that is, death and isolation.

The idea at the basis of the film is simple. In one of the first sequences, a software is shown in which dots wander across the screen. If they move too far, a force brings them together again, but if they get too close, they melt and disappear. It is stated how this is a representation of the inner functioning of the world the characters are inhabiting, this meaning that living is no other than being doomed either to disappearance or loneliness. Not only that. For those who come to take their lives, it is common to take their leave with one certainty, that there can be no worse than this. There's no other relief than dying. But, for the spirits of Kairo, death is nothing but the crystallization of their loneliness.

In a genre that has always sought to probe the deepest fears of the human soul, Kurosawa appropriates the primal fear of death by stripping it of any possibility of catharsis. In addition, as early as 2001, the year of the film's production, technology functions as an amplifier of the unease of a society that is decaying in on itself, in a criticism of a modernity that is just slaughtering and eating it up the human being.

And, of course, it is scary. The slow camera movements, jarring music, and constant silences build a palpable tension and claustrophobia that permeates the entire picture. Despite almost zero violence, the apparitions terrify in their sluggish, but ultimately harmless trudging through the scene. Considering the labyrinthine narrative, the suffocating use of cinematic timing, the almost prophetic reflection of modern technology and evaluating the effectiveness of a horror movie by its ability to tear the viewer apart, Kairo is indeed the most disturbing film of the last century.

Women Talking (2022)

When Frances McDormand left, so did my soul

[6/10 · 1 March 2023]

In 2010, the women of a Mennonite community must come together to make a decision following the discovery of a terrible secret of the men in their community. There are three options: do nothing, stay and fight, or leave. Great. The incipit is undoubtedly as interesting as it is a thriving ground for opening an important dialogue on concepts such as faith, misogyny, and feminism.

While it is an important film, and an important issue, I found the script to be profoundly insincere and artificial, in dialogue that is more like a skein of feminist slogans piled one after another. The way the characters express themselves, interact, and behave is mechanical and relegated to the stereotype of women they represent. To the most controversial character, McDormand's, I was sorry that, even in her being at fault, no space was left.

On a technical level there is nothing particularly significant; the coloring is interesting, if not particularly aesthetic. The performances of course were good, as the cast is mostly made up of great actresses.

Women Talking is commendable in its intended message, but otherwise it seems a wasted opportunity of cast as much as of reference material.

The Son (I) (2022)

Misery porn part II

[6/10 · 17 February 2023]

Florian Zeller's second feature film, The Son, is the second part of a presumably family-themed trilogy, the third part of which is supposed to be devoted to the mother figure. In this film the focus is on one of the most complex issues contemporary society is today interfacing with, namely that of mental illness and depression.

Overall, the quality of the film is good, albeit with some major slips. Technically and structurally it has no particularly noteworthy elements, except for the interesting use of colors and sets.

Very praisable, is one of the key messages of the picture, that is how depression is, for all intents and purposes, a disease, and as such should be conceived and treated. As made explicit directly in the film, it is something against with love alone may not be enough. The biggest lack, on the other hand, is the very pivotal figure and its interpretation, that is the titolar son, played by Zen McGrath. Although the actor is quite good, he lacks the depth and authenticity required to effectively communicate such a complex illness as the one depicted. All the more, the character is repeatedly portrayed as frightening, strange, disturbing, and so on, but to the viewer he appears sad and dejected at best.

However, I do not think the film deserves to be judged as heavily as some critics are painting it. Indeed, one can define the whole picture as simple pornography of pain, but this juxtaposes with the obvious desire to convey a delicate and important message. The other two criticisms that I have noticed most relate mainly to the superficial portrayal of what depression is, and to the lecturing of The Son as a discouragement to parenting, both of which are not entirely objective. Depression comes in many forms, but this is one of them. There is no right way to experience and suffer the illness, just as there is not always a clear motive behind it. Also, this film does not encourage not having children, as it simply wants to make people acknowldege something that exists, like so many other sad things one would rather not think about. In addition, it explicits how, with the right tools, it is something that can be addressed and treated. And how it would be better not to leave a loaded gun beside your suicidal child - maybe.

Finally, the enactment of what might have been the ideal future for the son appears very misguided in that, although this was not the intended message, it supports the thought that a life is worthy of appreciation only once a set of expectations, even very high ones, have been exceeded.

6/10.

Infinity Pool (2023)

What do I like about Li Tolqa? I like the beaches

[5/10 · 16 February 2023]

From 'gosh it looks like a Cronenberg movie' to 'gosh it is his son's movie' is one step. Unfortunately a pretty long step. Indeed, it is in the combination of the very strong influence of his father's filmography with the attempt to break away from it that Infinity Pool finds its undoing. The film lacks so much structure, cohesion, and meaning that it is difficult to give it a well-structured review.

Starting with the premise, the film immediately fails to get the viewer oriented in the world it wants to tell about: are we in our reality? In an alternative one? Li Tolqa's costumes are unusual, but outside of it, is our morality that of the protagonists? The film would lean toward making us understand that Li Tolqa is a fictitious place, yet immersed in our reality. With the main characters we should consequently share morals. If this is indeed the case, the fictional reality of the film cannot stand on itself in the slightest, as it is too improbable. If, on the other hand, this is not the case, the film fails miserably in making us understand what key we should give to what we see depicted on the screen. This makes it, yes disturbing, but overall alienating to the viewer of the story. The result is too full, too confusing, too eager to provoke and disturb to have a defined identity. The use of continuous technical virtuosity also contributes to the sensation of overall overabundance of the story.

This is not to say that there were not many elements of potential interest, or that the director lacks skill and talent, but how the entire production fell short in reducing, deducting, and correcting all those elements that separate an experimental film from a messy one.

Knock at the Cabin (2023)

Kiki's delivery service is such a cute film

[4/10 · 9 February 2023]

M. Night Shyamalan's new movie examines the unthinkable choice of a family called to make a great sacrifice for the purpose of appeasing an impending apocalypse. Four characters, Leonard, Sabrina, Adriane, and Redmond, a representation of the Horsemen of the Apocalypse, are tasked with guiding the protagonists in making the gesture. As an incipit, it could have been the basis of an appealing film, as to a discussion of complex concepts such as religion, faith, and man's right to receive the grace of existence. Unfortunately, the execution makes the result underwhelming and disappointing.

The pivotal problem lies in the handling of the script and dialogue, which appear superficial, dated, and far from triggering even the slightest reflection. The characters, as much as their interactions, are sloppily and roughly, rendering all the actors on screen stereotypes of human types rather than real people. As much as possible all the actors did a good job, especially Dave Bautista and Kristen Cui.

The second problem is the extreme predictability of the story, the entirety of which can be guessed from the first few minutes. A problem that, had the film been made with at least greater depth, would have been felt less, but which becomes preponderant accompanied by the low quality of the script. Atmosphere and tone, are as drab as the attempt to enliven the story with poor thriller parts.

The last major flaw, is the clumsiness in dealing with the underlying concepts, primarily religion, whose representation borders on stereotyping, examples being the depiction of the four Horsemen of the Apocalypse mainly according to the colors of their shirts and their antecedent professions, or the "divine vision" of the protagonist Eric. The other theme, homosexuality, is not treated with less trivial clichés.

It comes naturally to make a concluding comparison with Yorgos Lanthimos' picture 'The Killing of a Sacred Deer', with which it shares some similarities, and which is an example of absolutely better handling of all the aspects that this film instead lacks, and, of how, with some shrewdness, 'Knock at the Cabin' could have encompassed to be infinitely more effective.

Junji Ito Maniac: Japanese Tales of the Macabre (2023– )

Junji Ito's stories befriend Berserk in being not adaptable

[5/10 · 6 February 2023]

In the process of adapting a manga to the serial approach, some productions seem to struggle to conceive that adaptation is a more complex process than simply copying and pasting manga pages and hoping they will work in the same way on screen. This is the problem with an anime that could have had great potential, such as Junji Ito Maniac.

Indeed, in the development of the series, they opted to reproduce the original pages as faithfully as possible, stripping them of the soul given by the author and without caring to translate them into a different communicative medium.

This is unfortunate because animation could allow for the sublimation of master Junji Ito's haunting stories, and the lack of this effort makes the series incomplete, empty, and inconclusive. Moreover, there is a lack of overall cohesion and the pacing is erratic. The episodes are interesting only because of the unique material provided by the manga's sources.

Overall, the product, while not tremendous, comes across as a simple copy of the original manga with no soul and no real point of existence, as it adds nothing to the master's work but, on the contrary, takes away some of its charm.

Bocchi the Rock! (2022)

🎶 Melancholy days, multiplying traumas 🎶

[9/10 · 3 February 2023]

Bocchi the Rock is a slice-of-life anime depicting the story of young rocker Hitori Goto, her artistic and musical journey, and most importantly, her difficulty in dealing with deep social anxiety. What makes the anime so special are primarily the handling of comic timing and the incredible use of animation to depict the protagonist's inner states. Script and creativity match perfectly in the realization of a multifaceted, entertaining show with whom to empathize. Good is also the handling of the entire cast of characters and their relationships, and excellent the handling of the theme at hand.

Super recommended, as this is an anime that many people will manage to find very relatable as well as inspirational.

The Strange Thing About the Johnsons (2011)

Ari loves his family drama

[8/10 · 28 January 2023]

The Strange Thing About the Johnsons is the short submitted by Ari Aster for his thesis, this before he established himself as one of the most talented directors in the contemporary horror film scene. Indeed, one of the most compelling things about the film is to note how several of the elements that made his best-known films outstanding were already part of his poetics from the very beginning. Among them, the propensity to tackle really taboo subjects, so much so that the idea must have been frowned upon in a politically correct university, such as AFI. So yes, Ari Aster's university professors most certainly hated him.

While acerbic, Aster did as good a job with the small budget at his disposal as in handling the theme. For example, you can see how the gimmick of one of the most iconic sequences in Hereditary began to develop in this very movie (where it is used due to the actual practical impossibility of shooting a certain scene). Some lines of writing are really sophisticated, as is the attention to the emotional reaction to the traumas of the different characters, and all the actors involved were perfect in their parts.

M3GAN (2022)

The beginning of a new mediocre horror saga yay

[5/10 · 27 January 2023]

As entertaining as it is, M3gan is no more than another mediocre horror picture, structured on the usual exhausted matrix and overflowing with major flaws in logic and script. Still, it is a wasted opportunity, as the personality twist given to the doll (in comparison to the other murderous artificial intelligence peers) could have been quite interesting, if developed better.

The concepts of parental surrogacy and the impacts of technological revolution in raising a new generation, could have been clever to explore too. However, these concepts remain very superficial and sketchy to be really incisive. For what concerns the tone of the picture, the attempt to combine horror and comedy turns out to be too tamed to scare and too trivial to entertain.

Finally, I understand that it may have gone viral because of the ballet, but placed in the context of the film, it is annoying how blatantly it was inserted for this purpose.

Babylon (I) (2022)

Adding up all the good parts, 20 minutes out of the 190 are great

[5/10 · 19 January 2023]

Damien Chazelle has chosen to tag along with the other filmmakers who decided to voice their opinions on the film industry, some flatteringly and some not so flatteringly. Chazelle, like Peele and the Cohen brothers, seems to deeply love cinema as an art, but does not like the crude and hypocritical mechanisms of the Hollywood system as much. In order to manifest this, he has decided to steal hand over fist from every film made since 1920, in a mosaic that cannot rival any of the sources he has been inspired by.

Starting with the positive aspects, the film is undoubtedly made with great technical skill, and with an excellent use of sound. The settings are very beautiful. In particular, the parts devoted to the making of the films on the sets are extraordinary (the first in connection to the shooting of silent films, the second to the advent of sound), so much so that I would gladly have watched three hours of just those. Unfortunately, even these scenes look like they came from a Scorsese film, rather than a Chazelle one. The discussion of technological evolution is also a good foundation, and it is made explicit in the movie itself how it has already been the subject of other pictures that have made cinematic history (including the oft-mentioned Singing in the Rain).

Everything else is disappointing. The screenplay appears sketchy on the basis of a good starting idea, and the characters who inhabit it are little more than macchiettes. Margot Robbie's character looks like Harley Queen catapulted into 1920s Los Angeles, in a variant to whom a clumsy attempt is made to give depth, as in the mother scene. Brad Pitt's one seems forcefully extracted from a Tarantino movie. The only development for Manny's is the moment when he pulls back his hair to indicate how he has been corrupted by the system. All the others are equally flat. What should shock (or amuse) turns out to be vulgar and excessive (such as the vomit gag, or the elephant poop gag). The humor is boorish and insulting. Tobey Maguire would be a good addition if he were not another unnecessary character in an already overstretched and long picture. The costumes are another problem. Besides being inaccurate with the depicted times, they dress poorly, particularly Nellie.

Finally, for what it is intended to be about the industry as a threat to art, I find it hypocritical to see it carried by a studio, and a director, from Hollywood itself. This, also considering how Babylon was evidently made for the purpose of appeasing the elite of critics and juries of major film awards. The world of global and independent cinema is so vast, that I find unfair the continuous depiction of artists subjugated to an industry in the name of art. Industry of which they could easily not be a part (as there are alternatives to Hollywood), this, however, at the price of giving up the visibility and status proper to a certain American way of making movies. The final sequence with stills from some famous films (such as Alien, Avatar, Jurassic Park, and Babylon itself, for God knows which reason), it's not only a shameless theft from Nuovo Cinema Paradiso, but it's also of incomprehensible stupidity.

So while I love cinema, and while I am inclined to appreciate those who choose to make it their subject, I would love more a director who truly chose to put art first. That, and a willingness to create something beautiful and well made, and not yet another hypocritical project critical of the industry's denigration of art.

Aftersun (II) (2022)

I don't think Charlotte Welles meant to hurt me, but I'm in pain

[6/10 · 17 January 2023]

Aftersun is a very cheerful picture, I saw it in a moment of nostalgia and now I am much better. After all, what can you expect from a film produced by a patron of happiness such as the A24.

Starting with the plot, the film deals with the complex relationship between little Sophie and her father, Calum. In particular, with the complexity for a child to understand the nuances of adult maturity, if not in retrospect. In the picture, this difficulty is exacerbated by what appears to be a discomfort that Calum struggles to hide. Aftersun, through its underlying melancholy (and thanks to Paul Mescal's excellent performance), is able to strike a deep impact, and convey a profound sense of longing, and sadness.

The main problem, at least for me, was "personal", as I was not able to fully understand the meaning and the emotions that the movie intended to arouse, maybe because my own experience is very different from the one portrayed. Indeed, the film has a greater desire to accompany in the exploration of emotions with which one can identify, than to open up to those who are unable to recognize them in their experience. Because of this, the viewer can feel bored and disconnected from the events, as the story has a very bland and slow pace. In any case, it is still a very interesting production by the fantastic A24.

The Fabelmans (2022)

Meet the greatest filmmaker ever, David Lynch

[8/10 · 14 January 2023]

The decision to make a film that is a love letter to the art of cinema, its value, and its ability to help us understand, reshape, and come to terms with a reality that can sometimes be too big and complex (see Fanny & Alexander): 2 points.

Uncle Boris spitting facts: 1 point.

The depiction of the making process of Sammy's early short films: 2 points.

Bennie casually third wheeling in all the activities of a family of which he should not be a part: 1 point.

The underrated Paul Dano being the best character: 1 point.

David Lynch repudiating the centered horizon while smoking a cigar: 5 points.

A dilated and tedious structure and time management: minus 1 point.

The whole subplot of the girlfriend and the bullies: minus 1 point.

California in general: minus 2 points.

Total: 8/10. Thanks, Steven.

Glass Onion (2022)

Jeremy Renner's hot sauce is so much fun

[3/10 · 6 January 2023]

Glass Onion is kind of a pick me. The director really wants you to understand that it is definitely not like the other crime slash mystery movies. The murder is actually the result of an ill-conceived and random plan. The difficulty in solving it lies precisely in its stupidity. I can see Rian Johnson in the writing room giving himself big pats on the back, complimenting himself for being so random.

This movie has the great flaw, which seems to be becoming a commercial fashion, of taking the viewer who is watching it for stupid. In its desire to overturn expectations it chooses to replace the desire to make a well-thought-out detective story with a parade of lack of logic, mocking how viewers tend to use it when faced with an intellectual challenge (that is, what a good crime should be). Who knows why. Also, to cover up for that lack, Glass Onion slams dozens of gratuitous references to Covid, pop culture, an odd recurring gag of the extra guy on the island, and the Monnalisa. A shame to see a promising project reduced to this.

Avatar: The Way of Water (2022)

James Cameron must have had the time of his life directing Titanic

[7/10 · 6 January 2023]

This new Avatar is a tricky movie to review. The technical compartment is so innovative and amazing that it is impossible to call it in any way a bad film, as it represents the pinnacle of what can be done today in terms of visual accomplishment. It also expresses one of the most beautiful capabilities of cinema, which is to create unimaginable worlds and unfold them before the viewers' eyes. Not for a second the spectator can doubt the reality and beauty of Pandora's world, its vistas and creatures. And it is precisely in the depiction of this world that Avatar holds all its value.

On the opposite side of the coin, however, it is difficult to find any real strengths in the story or the characters; in particular, the characterization of the parents is obtuse. The discourse on nature and the synergy we should have with it, albeit not new, is the most interesting topic. The conflict and triggers are not. As for the action, some of it is quite confusing, but it is fun to see what almost seems like an alien retelling of Titanic.

In a few words, the beauty we witness seems an end in itself. This new Avatar is a creature such beautiful in appearance but with no other reasons for being. It's not a bad thing anyway, as it kind of trace it back to what is cinema in its earliest scope, that is, to show viewers something that should not be possible to see in reality.

White Noise (I) (2022)

I'm too stupid for that

[4/10 · 6 January 2023]

Americans have a kink for disasters, family, and the idea of being remembered. Adam Driver is a great actor, as are the other performers. Especially, Greta Gerwig cries very well. On his side, Noah Baumbach really wants to establish himself as a prominent auteur, and he is not afraid to use the most polished language he possesses to do so. That's about all there is to say about the movie.

Figuring out whether it is appreciable or not is not so straightforward, since dealing with it is not dissimilar to being hit with a sledgehammer, then sitting through a couple of hours of sophisticated dialogue, a few action moments, a brief stay at a summer camp, and then being released with what should probably be a new awareness. And to conclude, La La Land in the supermarket. I mean, maybe I just hate America and that's the problem.

The Quiet Girl (2022)

Subtle, heartwarming, perfectly constructed

[7/10 · 3 January 2023]

It is not so unusual to witness family situations in which parents treat their children as burdens, oblivious to their responsibility for bringing them into the world. Or of the reason why they did it. The discourse on parenting is precisely the film's pivotal element, and it is carried out gracefully. The Quite Girl is not an original film, or particularly entertaining, but it succeeds in offering a perfectly constructed story from beginning to end. It certainly conveys a great love for cinema and its language, this in the attention and subtle use of detail, in the beautiful cinematography and in the image construction. An outstanding piece of work indeed.

Bardo: False Chronicle of a Handful of Truths (2022)

Jodorowsky, is that you?

[4/10 · 17 December 2022]

Iñárritu is a filmmaker of great skill and aesthetic attention, clearly an admirer of the work of great masters such as Fellini, Buñuel, and Jodorowsky. Indeed, Bardo is a movie shot with great competence and aesthetic attention, clearly homage of the work of great masters such as Fellini, Buñuel and Jodorowsky. So, absolutely, it can be considered representative of the director himself, as it is partially autobiographical (or introspective, as he says). Too bad, however, that it is made only for him. The whole journey is heavy, alienating and discouraging. At most the entertainment is to approach it as an intellectual challenge, if you are not part of the niche lover of surrealist and predominantly visual cinema. It is commendable that the director still managed to pull off this ambitious project, but, for those who love cinema as a language, one can point out how Iñárritu has chosen hermeticism. 4/10.

Wednesday (2022– )

A handful of interesting scenes glued together with spit

[5/10 · 28 November 2022]

I'm not familiar with the original version of the Addams Family, but I was hoping to see something interesting from the once intriguing Tim Burton. I gave up in frustration at the end of the fourth episode. Oh yes, Burton really seems to have lost his mojo at this point, at least in my opinion. Jenna Ortega is really good and plays the character well, but everything else is mediocre to be kind. A few interesting sections (Wednesday playing the violin on the roof, the dance scene, and a few quotes) are not enough to make passable a series that mixes the most boorish teen drama with the most generic detective slash monster story possible. Too bad indeed.

The Menu (2022)

The gratitude of having bad culinary taste

[9/10 · 17 November 2022]

Thank you Mark, it is a pleasure to meet you :) It's always nice to come across really unique films with a new taste nowadays (taste heheh). Anyway, The Menu is a brilliant and sophisticated black comedy with an excellent script backed by equally excellent performances. Ralph Fiennes in particular is superb in portraying chef Slowik, who is as psycholabile as he is creative. The irony that permeates the entire film is really well measured. In some ways it is reminiscent of Greenway's splendid food themed twin work, also in its use of music as a narrative carrier. The movie is then extremely well edited in every detail, and brings back the idea of flavors perfectly. For someone who does not know anything about cooking, it is also an interesting reflection on why it is indeed art.

The Wonder (I) (2022)

What was that random Dogville inspired idiocy

[5/10 · 17 November 2022]

The Wonder is a film that promised to be very interesting and turned out to be a big disappointment. The strange meta-cinematic beginning immediately lays the groundwork for its unsuccessfulness, manifesting how the film would like to be, but with failing. There is not even much to say about it. As the goods obviously the acting, and probably the choice of the plot. Everything else is not really bad but simply blurs into mediocrity and incompleteness. No character is particularly noteworthy, and no moral position has any particular strength. Even little Anna seems quite malleable in his motivations and resolution. The final contrivance comes across as somewhere between forced and badly staged. I guess the film also wants to leave the religious solution open, but in a tremendously tone deaf way. "When Anna dies we will remove one A, switch the other letters, and you will be reborn as Nan". After this proposal, a quick death and resurrection takes place and the new identity is proclaimed a la Akira. Damn, that's touching.

Terrifier 2 (2022)

Art, maybe stop at scalping but you do you

[5/10 · 15 November 2022]

Terrifier 2 is not so terrifying after all. Heheh. The hype attached to this film is probably due to the small miracle that is its presence in theaters. Otherwise, although Art the Clown is probably a new horror icon, the film is just bad. You can tell it is still a very immature work, it is too long, the acting is terrible (not Art's, everyone else's), the plot exists and that's all. The whole final part is unbelievable, but not in a good way. And the killing scenes are so fake and so over-the-top, so unrealistic as to remind one of the old Scary Movies. Terrifier 2 is an overrated movie, interesting only in the optic of the reaction it provoked in the audience, and in its having managed to become mainstream.

Causeway (2022)

Katniss discovering a strong love for swimming pools

[5/10 · 6 November 2022]

Causeway opens with a long shot of Jennifer Lawrence looking at the road from behind, with sad car sounds in the background. This immediately lets you know what you're getting into, a long, slow, subdued film with Northern European-style authorial ambitions. For the first part of the film Lynsey devotes herself to treating very badly the people who try to help her recover, first and foremost the kind lady who takes her into her home, assists her, and as a thank you gets an appreciation of how depressing her life is. This haughtiness characterises Lynsey for the rest of the film, making it difficult to empathise with her. Obviously the characters don't have to be likable, but the film is unable to convey enough psychological introspection to make us really understand Lynsey's personality and feelings, let alone co-star James. All in all, it is a forgettable film, unable to tell what it wants to tell, with performances that are nevertheless good, and an overall message that wants to be mostly positive.

The Good Nurse (2022)

The day was dull and the insulin leftover

[5/10 · 4 November 2022]

This film had the ingredients to be far more interesting than that. It retells a real story about numerous deaths that occurred at the hands of a nurse, and the subject matter alone would have been enough to achieve a gruesome and uncomfortable result. Even wanting to give the movie a horror mold, how scary can it be to realize how much we are actually at the mercy of the impulses, malevolence, and mistakes, of those in charge of our health? And how infuriating can it be to see hospitals themselves conveniently cover up such happenings? Not that they gave it a horror twist, I'm just saying. It is not a horror film, not a thriller, not a psychological film, and not even an authorial drama, The Good Nurse is utterly soulless, proceeding coldly and heavily for its two-hour running time, never managing to convey the real weight of the story and situation, almost detracting from its subject matter. A missed opportunity indeed.