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Capone (2020)
Well That Was Something Different: Capone Surprisingly Rocks
Well, that was a slap to the face to those expecting another traditional gangster biopic. I'm not going to lie, I was one of those naysayers poking fun at the advertisements for this film as well with how ridiculous Tom Hardy as the infamous Alfonse Capone looked and sounded. This looked like a disaster but boy was I ignorant. 'Capone' is a fascinating character study and it trully earns that title. Taking place during the final year of his life hiding out in Florida, under FBI investigation and suffering from dementia, it's a disturbing look into the psyche of the failing brain of a murderous gangster. The way it delves into the mind of its titled star is right out of David Lynch and David Cronenberg. I'm still undecided whether Hardy provides either a good or bad performance but whatever side you fall onto, there's no denying it's quite something and not something you'll easily forget.
Luca (2021)
A Heart of Gold But Bland Features
I want to like Luca more than I do. I can't even say I hate it. There's nothing offensively bad about it. But there's nothing hugely memorable about it either. I suppose for a kids movie, Luca fits the bill for a nice life lesson to children about the importance of friendship, adventure and school education. Yes, it even makes school education an aim for the main character which is wonderful. However, one can't help but feel Luca is rather empty and stumbles towards the finish line. The visuals are unsurprisingly amazing from Pixar but by this point, this should be a given. What's lacking is that magical touch; the very same that can't be found in many of Pixar's latest crop of pictures.
World's Greatest Dad (2009)
Great Edgy Concept Let Down By Shoddy Execution
I want to be clear; I don't hate this film. World's Greatest Dad has such a great concept holding it but I'd be lying if I didn't say I was slightly disappointed in its execution.
No denying Robin Williams carries the film on his shoulders with a hugely underrated performance as a pathetic father who has been dealt the hard blow of being an unsuccessful writer, being stuck in a job as a poetry teacher where he is not respected by his students and fellow staff and has to contend with a porn-addicted son who bullys his dad into submission.
Reminiscent of the truly black comedy of directors Neil LaBute and John Waters, director Bobcat Goldthwait has come up with a great satire that delves into the hardships of fatherhood, mid-life crisis's and the falsity of celebrity; the latter of which comes through (SPOILER WARNING) the embarrassing death of William's son through auto erotic asphyxiation. Ashamed of the demise of his son, he decides to perform one last act of fatherly love to craft a tale of tragic suicide for his son. His fake suicide letter gets released to the public mysteriously but becomes a hugely successful phenomenon finally unlocking dreams of being a renowned author. Shame its under the guise of his deceased son who is now being respected and loved by the same people who paid no attention to him when he was alive.
It certainly left an impression on me but considering its ingeniously black comedy idea, I felt it could've gone further. Considering they go to the effort of making the son the most hideously despicable person, I feel they could've really gone far with this concept by corrupting the father figure into a hugely anti-hero figure who is playing everyone into submission.
In its state, it was very entertaining and Williams' reserved performance is fantastic. I feel with such an edgy concept, there was a chance to really push the boundaries of acceptability. It left me wanting so much more.
Spawn (1997)
Its not horrible. Its just not very good.
For what its worth, I'm not saying its a good film because it certainly is not. However, you have to give props to the style of the film. Its over-the-top, colourful and just fun.
The clown character is a joy to behold with John Leguziamo hamming it up to the extreme and stealing every scene. It's a pity the rest of the cast can't quite match. The Spawn character is a marvel to witness, especially with his red cape flying through the city (ignoring some terrible CGI). The image of him hoverng over a city is still a hugely awesome idea. And there are generally fun action moments spliced throughout which give this early foray into comic book movie adaptations a distinct personality.
Yes, the CGI is godawful (especially in Hell). Yes, Martin Sheen is a terrible choice for a villain. Yes, the story is rather lame. However, it leaves more of an impact than a lot of comic book adaptations these days. Generally interesting watch if a clearly failed attempt at a dark comic book story.
Hellboy (2019)
This one hurts!!
Unlike a lot of naysayers, I was generally excited to see a reinvention of the Hellboy character on the screen. While the Del Toro films were entertaining, they did deviate from the comics gothic sensibilities, so under a new direction, Hellboy fans could get their cake and eat it too.
Well they got it. And goddamn send it back from wence it came. There is so much wrong here, its puzzling. From a pure story structure, the film is an absolute mess. Yeah, i understand you have to cover a lot of territory to introduce people not familiar with the rich universe created by Mike Mignolia but christ, not like this. Don't rush Hellboys origins through a quick 2 minute flashback. It requires its own fleshed out scene or you know, just don't include it in.
The Dead Don't Die (2019)
Why????!!!!!
I wish I could say that the zombies were at least gruesomely fun, but that would be giving this film more than its worth. What a complete waste of my time. I'm sure Jim Jarmusch and the cast had fun making this but this is on the level of a high school student zombie film than the latest from an underground film icon.
So many opportunities for good humour and fun ideas but it never commits to anything, purely going for a by-the-numbers zombie flick. A huge cast of talent with Bill Murray, Adam Driver, Chloe Sevigny, Steve Buscemi, Donald Glover, Iggy Pop, Tom Waits, the RZA and Tilda Swinton. All wasted and looking bored. There are hints of parodying George Romero, but it comes off as obnoxious and zany than anything clever and funny.
The real tragedy is you could have done something with this set-up. Zombies that have connections to their past lives, cold and unemotional country folk reacting to such a horrific event, a breakage of the fourth wall occasionally. Why oh why was it so boring?
Sully (2016)
Strong Tom Hanks performance in a structurally irritating film
There will be no discounting of the true story and skills of the heroes involved in this investigation. What these pilots did was truly remarkable and should be remembered in the most honorable of terms. That being said, Clint Eastwood's film is a bit of a mess.
Firstly, there is very little story to tell to span the running length. There are moments so stretched out it is unbearable to watch. A couple of subplots with passengers from the Hudson River flight are popped in to ground some form of reality to the people involved. While on paper this sounds fine, in execution there is a really phoniness to the whole proceedings. The crash incident itself is very tense yes, but for some reason we are subjected to it a couple of times over the film when this could have been skipped over and feels like it was purely done to stretch the film.
The depiction of the National Transportation Safety Board is hilariously bad and sort of disrespectful to the real people involved. A painful attempt at creating a villain presence for a film that could have easily done without to purely focus on the heroic efforts of Sully and his co-pilot.
That being said, the crash scene is very well done ignoring some bad CGI moments. Tom Hanks is also very very good and gives a real warmth to the cold direction of Eastwood (at least in this film). His speech defending himself is by far the best scene in the film and makes me want to see a film that was engaging and well written as that scene.
La piel que habito (2011)
True Horror Using A Scalpel: A Wonderfully Disturbing Film
This one is going to keep me up for a while. For those who want the true viewing experience, please read nothing about it beforehand. Best to go in without any prior knowledge whatsoever because you will be dragged on an incredible journey.
A horror film without gore but more effective than your average blood-and-guts movie, this film really digs deep into uncomfortable territory. A film begging to be analysed and talked about afterwards. Extraordinary filmmaking. Definitely keen to check out more of Almodovar's work.
The Snowman (2017)
The Snowman Strikes Cold: A Whole Lot of Talent In A Fascinating Mess
"You can't force the pieces to fit". A wise piece of advice from the lead detective character that those involved in the making of The Snowman may need to examine.
In what can only be described as one of the strangest movie experiences of the year, The Snowman is a curiously constructed mess where multiple story threads do not quite fit together and a cast of characters float around, struggling to find purpose. It would not be the first time a crime thriller has collapsed under its own ambition, but when so many talented individuals are involved, one can only ask where it all went DEEPLY wrong.
This convoluted tale of murder and mayhem takes place in Oslo, a city already well established in the genre by more successful, gripping Nordic crime dramas. The disappearance of a mother leads to the re-opening of a decades-old investigation into a killer that slays their victims in hideous fashion, leaving behind a calling card of a snowman at the scene of every crime. Not necessarily a winning story formula sure, but with Tomas Alfredson, who directed two of the greatest films of the last decade (Let The Right One In and Tinker, Tailor, Soldier, Spy) at the helm, dirt was bound to be made into gold. Not to mention a cast that involves A-list actors such as Michael Fassbender, Rebecca Ferguson, Charlotte Gainsbourg, J.K. Simmons, Toby Jones, Val Kilmer and Chloe Sevigny. However, the final result comes out as by far, one of the most perplexing cinematic disasters to be seen in a while.
There are bad films, but then there are those that are clearly unfinished, abandoned by their makers and left to scurry for life.
The problems arise almost immediately with an opening sequence so awfully edited; it would seem to be purposefully stylised to appear vague. If that is the case, boy; does it fail terribly. Without spoilers, the relevance of this scene to the rest of the plot does come to light later, but if anything, it adds to the confusion, falling so hard on its face and having zero impact value.
The Snowman does eventually settle for a slower pace to introduce the main players of the film and set up the murders, but it progresses at a snail's pace. The first murder does not occur until about forty minutes into the film, trying to develop the lead detective of Harry Holes, played by Fassbender. This would be fine, but Harry's background story is so vanilla (drunkard, divorced, unreliable father, but oh apparently genius detective), this can really drag on. To add insult to injury, they fail to develop him very well anyway. Random cues to him waking up on the street are the only real indication of his drinking problem and him being a respected (legend as the film calls him) member of the police force are never really proven in the face of solving this murder.
Rebecca Ferguson's Katrine fairs better as a rookie officer working alongside Harry who may have more at stake in this case than it would appear, but even her character by the end is poorly dealt with to make way for a deeply unnecessary complication in solving the case. In fact, it is fair to say most of the characters get lost within the grander scheme of the story. Most obvious is JK Simmons, who plays a seedy businessman with possible connections to woman trafficking and the Snowman killer, which becomes a major sub-plot, only to fizz out by the third act. You then have the out-of-the-blue flashbacks involving Val Kilmer's drunkard cop and his partner (Toby Jones) that has such a limp reason to exist at all, it could have easily been told through a one-minute explanation scene.
At its core, The Snowman suffers from incoherence and lack of flow. It is so sloppily put together and paced, one could easily blame a hack editor but shockingly; Alfredson involved award-winning and regular of Scorsese's films (he's executive producing by the way); Thelma Schoonmaker. With the amount of logical gaps and WTF moments happening, this is definitely a case of struggling to piece together unfinished scenes into a coherent whole. I would like to say the film redeems itself by the conclusion, but it all culminates in the dumbest and most anti-climatic ending that will really test patience limits.
If anything good can be said about The Snowman, it must be that the look of the film is breathtaking. Alfredson has always been an expert in capturing the bitter chill of winter landscapes and he continues this here. It would make the perfect location for a really thrilling and frightening screenplay. Too bad it's wasted on lousy snowmen.
This will definitely go down as one of the most bizarre and disappointing releases of recent memory. There is certainly attraction in seeing how such an incoherent story could find itself released, but with such talent attached (Tomas Alfredson for goodness sake!), it is a tragic exercise in spotting the good movie that might have been if things had not fallen apart so badly. While Alfredson has already come out and admitted there were numerous production problems, it is hopeful we will find out more about what led to such an unfinished mess.
1917 (2019)
A Big Waste Of Time: Style For Styles Sake
I take no pleasure in stating 1917 is a huge wasted opportunity. The selling point for Sam Mendes' (director of American Beauty & Skyfall) new film is that it's a war film shot to look like one continuous take. Bold move for a genre of cinema that requires loads of characters, huge action set pieces and usually many locations. So how can this be pulled off effectively? Well , in this case not very well it seems.
The trouble with 1917 is it all feels too clean and staged. I understand that they were trying to go for one continuous visceral experience with two troopers tasked with crossing enemy territory to send a message of stopping an assault from British forces entering a German enemy trap (A race against time literally) but it never felt tense when everything felt set-up. And this is all due to the premise of the film. Why sacrifice tension and dread of troopers in the trenches for some silly gimmick that is going to limit authenticity? Single take shots are the cool kid on the block for sure. A film that carries one in their film is immediately looked upon favourly because yes, they can be quite impressive. See films like Children of Men, Rope, Season one of True Detective, Boogie Nights or Atonement for such good examples. However, you have to know where to use it. It can be a miraculous style of getting across tension or nearing dread or a character's journey in a moment. However, it has limitations which makes making a film purely running on this shot troublesome. So many times did they have resort to cheap blackouts or tricks to continue the single take over a couple of days in a 2 hour film. Kind of hard to produce entertainment when you are literally trying to produce the slowness of time and get to different locations and have different looks in your scene (the burning church scene was clearly done to turn the audience away from the same cloudy skies and muddy fields).
I can say with great confidence that only two moments in this film benefited from the single take
approach (The start of the town scene with the sniper and the intense run to find the Colonel in the trenches). For that, I tip my hat to Roger Deakins and everyone involved in those scenes. Everything else however, felt so staged and empty. Almost like looking at a war memorial set piece at a museum. Case in point, there is a scene early on where the troops sent on the mission are going through their trenches to exit unto enemy territory where there's obviously a take going around showing the fear and falling morale of the battalion. A moment should invoke this incoming dread and fear of death. Instead, it all looks glossy and the camera never really smartly focuses on any of the troopers faces. It just sort of hovers overhead, enough to be in the trenches but far away fron the troops to cut off real intimacy Imagine doing a shot like in the classic WW1 movie Paths of Glory where the camera goes slowly down the trenches as all the soldiers look on and you just hear the sound of explosions as the music. Which is another thing 1917 buggers up on.
Scenes can work without music. They don't continuously have to spell out incoming dread. It just seemed like a really lazy way of saying oh jeez this scene is intense. Oh look at me. It's all in one take and oh the fear in these soldiers and of time running out is palpable. Be more adventurous with your music choices and use. So many sequences could've carried across dread more if all we heard was soldiers trudging feet in the mud or explosions going off. Just another amateur move.
If you can tell, I found 1917 to be a massive disappointment. Not that's it's intentions were not bold or interesting, but it just didn't work. If you are selling your film on a specific style, then use it well. Use it so it actually provides tension and dread. It was not here. Look, it's a war that needs to be remembered and my hate for this film does not discount the hard work and sacrifice these men had on the battlefield. They are heroes and not the worst film will take that away. Its just a shame that such a film couldn't have been done better with just a normal, more focussed approach instead of falling for a stylistic trick.
The Gentlemen (2019)
Oi Blimey. An Actual Tolerable Guy Ritchie Film. Now There's Quite the Sight
Yes, it's still silly. Yes, it's still full of itself. Yes, it has the same rude and rambunctious dialogue of your typical Guy Ritchie flick. It's sort of entertaining though. It passes the time and yeah there are some decent laughs to be found.
La vérité (2019)
The Suit Fits: Nothing Bad But Nothing Special
The most interesting element to come out of this film is a Japanese director taking on a French speaking film. Certainly an unexpected turn for Hirokazu Koreeda, director of the highly regarded Shoplifters, but there's nothing especially stimulating about the Truth. It has good performances, it's shot nicely and yes, it has things to say about stardom and it's impact on family, but not much else to elevate it from just being ok.
The only strong reaction I had for this film would be my complete destestment of the main character Fabienne played by Catherine Deneuve. She is an absolutely repulsive person who cares purely about her glory and her disappearing stardom. You see, Fabienne was a huge French star who has gone the way of the dinosaur and feels lost in a world that seems to be moving on from her. While a lot of material to work with here, Fabienne does not make it easy to like or even relate to her. Which is a problem when you can't quite convince yourself why her poor daughter played by Juliette Binoche is at her side for the runtime. She is a horrible person to be with and it doesn't quite make for an enjoyable experience when you detest her the entire film.
There are some generally nice moments sprinkled in the film especially the ones involving Fabienne's grand daughter who shines a light in all the falsity and horribleness of the actor world. Ethan Hawke is also a very charming presence in the film playing the wannabe actor/husband of Fabienne's daughter.
The film making scenes where it revolves around Fabienne starring in a science fiction film about an immortal young mother (Which has some thematic resemblance to Fabienne's real mother) are also well choreographed and generally interesting. The rest however sort of meanders on, not really finding any strong footing to land on. It purely floats around a character who isn't particularly likeable, sympathetic or for that matter, interesting.
I can't say it's bad. If you are looking for a sort of reflective and quiet look at a celebrity struggling to be still relevant and the dramas she puts her family in as a result, then sure it will pass the time well. I can't say it's going to be remembered long after though. More likely you'll remember how much you wanted Fabienne to receive punishment for being such a horrible person.
Little Women (2019)
An Epic Tale of Four Sisters & The Challenges of Growing Up
Before I start, I should state that I have not read the source material nor watched any of the multiple adaptations, so this is coming from someone with no prior knowledge of the material. To my knowledge of the reception from my cinema audience, (mostly middle aged women), this film does take liberties with the book. On a pure filmmaking front however, I feel Little Women exceeds as a great story about young women finding their place in the world. To my surprise and joy, there is no heavily politically correct agenda shoe-horned in either (despite some of the marketing and publicity saying otherwise) and is just a really well-thought piece that appeals to both young women and men.
The basic set-up is four sisters with four differing personalities and desires grow up together with a loving, charitable mother who holds them together away from the horrors of the Civil War that has taken away their father. The sisters live a relatively enclosed life in their home and try to break free from these domestic shackles to embrace youthful desires such as artistic pursuits and yes boys. Which erupts from a random encounter with a rich cultured neighborly boy that pursues pleasures over hard work. The story takes us over a decade of these sisters lives as their lifestyles change, their needs adapt and the incoming adulthood is about to change their naive bright youth.
It's a wonderful film that is a huge step-up for Greta Gerwig (her first film Lady Bird didn't really blow me away as it did for some) and perfectly orchestrates a tight web of stories and arcs. While you may see some events coming, none of them are eye-rollingly obvious and it's just a pleasure being in the company of all these characters. No one feels left out and all have emotional resonance to the plot.
The performances unsurprisingly are top-notch with Saorose Ronan and Florence Pugh (who has quickly made herself one of the lookout young stars of her generation) pulling in astonishing roles. Pugh especially deserves an award or praise for making a character that can be at times whiney and repulsive to being rather sympathetic and loving. She pulls in a perfect blend. I also want to praise Laura Dern as well for her performance as the mother. It's been a while since I've felt Dern has really stood out in a film but here, she really blossoms as a caring woman who has the burden of looking after four children during wartime.
Overall, Little Women is a film I can't recommend enough. It just works on many levels and is a shining work of what films about women written and made by women should be like.
Mr. Robot: 401 Unauthorized (2019)
Incredible. Must See
I don't know if it would have the same impact on new viewers without context, but Jesus Christ. First episode was intense. After a last season that definitely ended on a dark and sour note, Season four plunges us into deep peril straight away. I genuinely felt scared throughout like i was watching something dangerous. Like the Dark Army were about to get me if i kept watching. All bets were off and the fates of every character were up in arms. I'm glued. Welcome back indeed, Mr Robot.
Watchmen: She Was Killed by Space Junk (2019)
Episode 3 Settles In To The Watchmen Comic Universe
To those worried about the direction HBO's Watchmen was going, Episode Three has picked up tremendously in quality. I will admit though, 'She Was Killed....' may not work with everyone as it clearly has its eyes on fans of the comic book (mind how i said the book, not the movie). Mysteries and open questions are starting to come together and the world Lindelof is creating is starting to be recognizably Watchmen just set 30 years later.
This episode focuses mainly on an FBI agent played brilliantly by Jean Smart who is called in to investigate the police murder by the 7th Kalvary. She is witty, determined, thick-skinned and just a really likable protagonist; so much so I kind of wish she would remain the main character. She works really well in balancing the new elements and characters (who so far haven't been the greatest) with the cynical and learned perspective of the elders and Alan Moore-esque comic universe who lived in the time of Dr Manhattan, The Comedian and Rorschach.
There are still issues with show runner Lindelof thinking he's smarter than he is with some hokey dialogue, twists that are pretty predictable and a few too obvious nods to the comic book, but overall the episode works really well and was the first one that genuinely made me invested in this take on the Watchmen property. Just not sure if newcomers to Watchmen will be left even more confused with it starting to adhere closer to fans of the comic. Overall, pretty damn good.
The Mandalorian: Chapter 2: The Child (2019)
This Is How To Do Star Wars. Take Note J.J. & Rian.
After an average pilot episode that was swinging way too far into a western homage, I'm happy to see the new Star Wars series settling in and producing a fun space adventure that is not bogged down by Original Trilogy nostalgia. Sure, it mainly revolves around the scavenger race of the Jawas, but utilises them effectively to propel our masked main character on a episode-contained quest to escape a dangerous planet.
The episode kicks off after the Mandalorian finds the precious cargo from the previous and finds his ship has been stripped of parts by the local Jawa clan. Here, he must work out with a local farmer to get them back, even if it means embarking on a dangerous errand to do so.
First of all, I really liked the toned back structure of this episode. Apart from a scuffle with a Sandcrawler, an ambush from Trandoshans (lizard aliens) and a monster in a cave (both well-done sequences), this is not an action heavy episode and relies heavily on the imagery of a mostly silent protagonist crossing a beautiful alien landscape. It's clear the show's creators have a massive respect for this universe and just love to soak up the wonders of exploring alien worlds. The soundtrack is also very suiting, going for a more relaxed approach this episode and less of the bombastic music that kind of ruined the pilot.
I'm enjoying the approach of painting the Mandalorian as a bit of a bad; moments where he is clearly quite cruel to the Jawas and thinking purely of himself. He is not the deepest of characters (problem when you have a masked and relatively silent protagonist), but in this self-contained story I think it works to his advantage as he struggles to get off this planet but at the same time develop an understanding of his strange cargo. '
Speaking of which, the special effects (animatronic and CG) for the cargo are very well done and where they have left the character is keeping me interested in finding out more about this little devil.
If I had to pick any problem, the Mandalorian still feels like an Internet/YouTube show. The length is a mere 30 minutes and the overall feel of the show is small despite its decent budget and mainly alien cast. This may be just a disappointment in not getting a full blown 50 minute TV show saga, but there is still a feeling of watching an Internet show. I want Disney to hopefully work on the success of the Mandalorian in producing a full length tv show. What we have so far however is so much better than what Star Wars has been given theatrically.
Is it worth getting a Disney+ account for? Mmm probably not but for a fun entry into the Star Wars universe that respectfully goes for a silent film approach and improves exponentially on the lukewarm pilot, it delivers.
Oasiseu (2002)
This Ain't Hollywood: A Brutally Honest & Touching Love Story
For those looking for an unconventional love story, Lee Chang Dong's Oasis may just be the ticket. Following a mentally disturbed man's relationship with a woman with severe cerebral palsy, Oasis is a powerful piece of stylistic South Korean realist cinema. A refreshing look at how two outcasts through physical and social differences are drawn to each other. Two amazing performances from the two leads especially Moon So-ri who is able to convey so much through what would have been a very physically daunting role. It is certainly not a romance for everyone and is quite brutal in its depiction of an unusual yet touching human connection. A scene early on between the two lovebirds will certainly ruffle some feathers and challenge any preconceptions of this being a glossed-up depiction of mental illness and passionate love. You'd be doing yourself a disservice though if you didn't accept the challenge.
Midsommar (2019)
A Strong Concept Let Down By Poor Execution
What a letdown!!! Not that I had strong expectations for Midsommar, the latest Ari Aster film (Hereditary I still haven't finished but doubt I will), but it generally hooked me in for a time with its strong start and concept of a couple dealing with loss and suffering in a genuinely touching and poignant way.
Florence Pugh totally sells it as the protagonist of a distressed woman on the brink of collapse after a personal tragedy and is by far, the strongest element of the film. Which is a pity when attached to an overly long, pompous and incredibly disappointing rip-off of the English horror film The Wicker Man. Yes, there are films that will inspire directors and new films for decades to come. Yes, that isn't necessarily a bad thing. However, Midsommar just can't seem to escape the familiar confines of it so desperately wanting to be the Wicker Man with its creepy tone, corruptible pagan society and unsettling ending.
Yes, it seems the best form of medicine for dealing with grief and seeing how far a relationship will go after a sudden tragedy is a good old pagan festival. At first an intriguing premise when dealing with the troubled relationship between the main protagonist and her boyfriend (who is certainly not of the same acting chops) then turns into a silly farce where a strange Swedish cult slowly turns sinister and to incredibly ludicrous extremes. The Wicker Man cult may have done terribly wicked things, but at least it felt natural to them why they would harness such evil power. The cult in this film however just seem to go crazy one day just to benefit the plot and not have a very deep or meaningful reason behind their brutality. There is a pagan ritual involving pubic hair for example which never feels justified and is simply done for shock value. By then, the film loses all credibility and its purely the good performance from Florence that keeps it limping forward.
On a technical standpoint, Midsommar fairs decently with a pleasantly creepy feel to the whole proceedings (there's an inspired 360 degree shot as the team head into the festival and one still shot of a few characters outside the sleeping quarters was strangely offputting in the right sense). The soundtrack was nothing to write home about but it worked for the tone.
I suppose my main gripe with this film is literally the letdown the film becomes after such a promising start. What could have been a powerful look into loss and tragedy just falls apart into a unintentionally funny, silly. over-the-top mess as its tries to shock you with its scenarios. Looking forward to seeing more from Florence Pugh. Not so much Ari Aster.