Happy Death Day: PG-13 Horror Done Right
Happy Death Day is a breath of fresh (albeit recycled) air that moves along breezily and does exactly what it intends to do. The purpose of this PG-13 horror romp is to simply entertain and tell a neat riff on the classic Groundhog Day. I love how relaxed and self-aware it was in its repeating day plot and the action/horror takes a back seat behind a very likable performance from Jessica Rothe (La La Land). Her performance is equal parts comedic, charming and self-effacing. She is the rare actress who can say “would you stop looking at me like I took a dump on your mom’s head” and pull it off.
Happy Death Day revolves around a college student named Tree (Jessica Rothe) having a terrible day that keeps repeating. She is the stereotypical snarky sorority movie girl who hates carbs, gets wasted and finds herself in random dorm rooms after a night on the town. Normally, this type of character is killed off in the first act, however, after being killed on campus by a baby mask wearing maniac she wakes up back where she started (in a random dude’s dorm room). Being that this is a PG-13 semi-romantic horror film, the dorm room guy is actually a really nice kid named Carter (Israel Broussard) who ends up aiding Tree in her quest to find the murderer. A neat wrinkle to the repeating day twist is that Tree wakes up each morning feeling the effects of the prior nights killing. Thus, she can’t spend years hunting the killer and only has a finite amount of time before her body fails from too many deaths via a masked baby person.
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The best part about Happy Death Day is that it is fun. Director Christopher Landon (Scouts Guide to the Zombie Apocalypse, Paranormal Activity: The Marked Ones) and writer Scott Lobdell (X-Men – writes for Marvel) keep everything moving along quickly and do a fine job making the 96 minutes breeze by. Happy Death Day is never exciting or ground breaking, but it really doesn’t have to be because it is so heavy on charm. The supporting cast is solid and I really like the head-sorority punk Danielle (Rachel Matthews) who thinks deja-vu is when “someone’s thinking about you while they’re masturbating. I get it like six times a day.”
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Movies like Happy Death Day are perfect for repeat viewings on cable and I think the current Hollywood system isn’t churning out enough of these laid back films that don’t swing for the fences because they are cool with hitting doubles. I’m not condoning lazy film making, I’m just saying there is a place for movies that simply want to entertain and be nice while putting the characters through a whole lot of murder. I’m not surprised by the massive $115 international box office total because Happy Death Day has an easy appeal and it is much better than it had any right to be. I love that it was able to entertain on a relatively tiny $5 million budget and I hope that Jessica Rothe is able to build on her solid performance and get bigger and potentially better roles (I liked Tree a lot).
If you are looking for a fun horror film that brings the charm and makes you want to eat cake I totally recommend Happy Death Day.
The MFF horror czar also wrote a review for Happy Death Day. Check it out!
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Phantom Thread is a meticulously crafted romance that feels like every inch of it was tailored by director/writer Paul Thomas Anderson (There Will be Blood, The Master, Boogie Night, Magnolia). It put a massive smile on my face as every hand crafted scene played in front of my eyes, and when it was over I wanted more. I love how Anderson finds ways to make his films feel so alive and layered because they almost force you to rewatch them to embrace every detail.
Phantom Thread revolves around Reynolds Woodcock (Daniel Day-Lewis) a consummate bachelor/famous dressmaker meeting a woman named Alma (Vicky Krieps) who becomes his muse. Since this is a Paul Thomas Anderson film, the romance is anything but conventional and plays like a subdued rollercoaster in the guise of a period drama. The two meet while Woodcock is away at the country after a particularly stressing fashion show. After a charming breakfast scene involving the great pronunciation of the word “raspberry,” Woodcock takes Alma out for a date, then back to his place to fit her for what will become a beautiful dress. After their initial meet-cute, Alma comes back to London with him to become his muse, lover and verbal sparring partner. However, since he is a stuck-in-his-ways bachelor it puts a strain on their relationship and leads to some trippy places.
I loved how Alma adds minor chaos to Reynold’s routine by simply spreading butter on toast too loudly or insisting on getting the last word in during their arguments. Woodcock bit off a little more than he could chew with Alma, and he doesn’t realize his normal tricks of turning women away won’t work with her. Together, they co-exist in an interesting pattern of passive aggressiveness and infatuation that leads to a really awesome and weird ending. Also, this may sound random but Phantom Thread features the best pronunciation of the word “raspberry” since Dracula: Dead and Loving It.
It’s random. I know
If you are thinking that a period romance about dressmaking isn’t for you, just remember that Paul Thomas Anderson is the guy who directed There Will Be Blood, The Master, Boogie Nights and Magnolia. It doesn’t matter what the subject matter is because Anderson always finds a way to make things look beautiful and the plot interesting. You will 100% be surprised at what transpires throughout the film and you might find yourself smiling at the absurdity of it all. Also, the sets, dresses and locations, provide an embarrassment of eye candy.
Phantom Thread is a beautiful film that might just be the swan song for Daniel Day-Lewis. For that reason alone you should head to the theaters to bask in his layered performance that proves he is one of the best actors on the planet.
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Maze Runner: The Death Cure: A Solid Send-Off to a Trilogy That Punched Above its Weight
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Maze Runner: The Death Cure is a somewhat satisfying end to a very fun trilogy that hit above its weight. I say “somewhat satisfying” because it sticks the landing, but gets weighed down in too many subplots, weird pacing and not enough running. Director Wes Ball (FSU alum!) was given the rare job of being allowed to direct an entire trilogy and I think he has done a fine job telling a cohesive series of movies that have evolved and gotten bigger. The first movie was a fun YA adaptation that featured plenty of stakes, likable characters and a breakout performance from Dylan O’Brien. The second film The Scorch Trials was a big step up that featured some epic (for the budget) running set-pieces that succeeded in making me tired.
Maze Runner: The Death Cure focuses on the final battle between the “Gladers” and WCKD (Wicked). Thomas (Dylan O’Brien), Newt (Thomas Brodie-Sangster) and Frypan (Dexter Darden) have continued their team up with resistance leader Vince (Barry Pepper!!!) and the very enjoyable Brenda (Rosa Salazar) and Jorge (Giancarlo Esposito) in order to rescue their close friend Minho (Ki Hong Lee) and get the heck out of the infected wasteland in search of greener and less gross pastures. However, things happen and the crew is forced to reengage with old (fr)enemies Teresa (Kaya Scodelario), Ava Paige (Patricia Clarkson) and Janson (Aidan Gillen).
What is the reason for the final showdown? The folks at WCKD are all about finding a cure for the deadly “flare virus” that has turned humanity into cranky zombies (AKA cranks). Their means of finding a cure is far from ethical as they don’t care about occasional torture, death and insane tests. The “Gladers” aren’t really keen on being tortured, but they need to break in to WCKD’s massive lab (after trying to escape for years) to rescue their friend who is being super tortured for a cure. Once all the chess pieces are back in play we are blessed with many explosions, some running and a disfigured Walton Goggins (AKA The Best) blowing more stuff up.
The best moments of the trilogy revolve around reactive action scenes that feature fast thinking and lots of cardio.
What I love most about this film is it’s loaded with actors and characters I like. There is a mini Game of Thrones reunion (Littlefinger, Jojen Reed, Missandei) and anytime Walton Goggins can ham-it-up onscreen it makes me happy. I’m also happy that Dylan O’Brien was able to recover from the horrible accident that happened to him while shooting a stunt for this installment. He went through a lot and the accident forced the film to be delayed over a year and potentially never finished. However, after a very trying period of physical therapy he was able to come back and crush the finale.
Maze Runner: The Death Cure is a fine ending to an unlikely trilogy and I’m happy it was able to get a proper sendoff. It may not have the thrills and excitement of the first two movies but I still had a fun time watching people I like engaging in post-apocalyptic shenanigans. If you are fan of the first two, I’m certain you will dig this film and embrace that everyone came back and it was able to have a proper ending.
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The MFF Podcast #115: Bram Stoker’s Dracula
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SUMMARY: This week we discuss Francis Ford Coppola’s ambitious venture into Bram Stoker’s Dracula (1992), a dazzling visual spectacle mixing equal parts horror, romance and fantasy–much like Romeo and Juliet took a stroll through the horror genre. Join us for analyses of British accents, a deeper exploration of Coppola’s methodology, innovative camera techniques, and how this star-studded cast approached their varied roles.
If you enjoy discussions about horror romance films, check out Episode 62: Honeymooners (Honeymoon and Spring).
For more horror podcast discussions, check out…
Episode 114: Office Horror, Mayhem & The Belko Experiment
Episode 113: Elise, her Demons and the Insidious Franchise
Episode 108: The Best Horror Films of 2017
Episode 78: Carpenter vs Zombie Halloween Rematch (1981 vs 2009)
Episode 76: The Blair Witch Pod (1999-2016)
Download the pod on iTunes, PodBean, Stitcher or
LISTEN TO THE POD ON BLOG TALK RADIO.
Please SUBSCRIBE, REVIEW, RATE and SHARE.
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Wind River: A Very Good Thriller That Proves Taylor Sheridan is One of the Best Writers Around
Director/writer Taylor Sheridan has been on a tear with his screenplays for Sicario, Hell or High Water, and now Wind River. I believe he is one of the best working writers today because he is able to combine poetic dialogue, genuine heart and action scenes that make you feel like you are part of the action. His screenplays focus on the fringes of society where lawlessness and politics go hand in hand and are often accompanied by sudden violence and death. Whether it is on the Mexican border or Texas back roads, Sheridan loves wide open spaces that are home to lawlessness and great dialogue.
Wind River centers on the investigation of a dead body found in an uninhabited part of the Wind River Indian reservation in Wyoming. Fish and Wildlife Agent Cory Lambert (Jeremy Renner) discovers the young woman without shoes or proper winter gear and the cause of death is a pulmonary hemorrhage caused by the rapid inhalation of sub-zero air. The main problem is the autopsy shows signs of trauma and rape, however, since the cause of death was a pulmonary hemorrhage the local police, Lambert and FBI agent Jane Banner (Elizabeth Olsen) can’t request more help from the FBI. Thus, they are under-manned, without clues and due to the closely-knit community can’t get many people to talk.
Watch the clip to get a feel for the surroundings and dialogue.
Their investigation takes them to the back roads of the reservation where the inhabitants range from relaxed to drug-addled. We are also introduced to the parents of the victim who are crushed that their daughter suffered so terribly. Lambert also lost his daughter years back and this latest murder to one of his daughter’s friends brings back horrible memories and also a redemption of sorts. What follows is heartbreaking (due to its true story nature) and breathtaking.
Taylor Sheridan nails his directorial debut and I love that he builds to an action scene that I haven’t been able to shake. When you watch as many movies as I do it’s hard to hold on to everything. However, there is a crazy tense standoff that left my mouth agape and in fear of Jeremy Renner. I bet that Jeremy Renner and Elizabeth Olsen were happy to get away from their superhero roles and spout some great dialogue. I’d love to give my favorite scene away, but due to its spoiler nature I don’t want to wreck a very good Renner speech that he gives at the end. It is simultaneously uplifting and also punches you right in the gut with the grief behind it. So, instead of wrecking that moment, I’ve added another clip below that features Renner crushing some dialogue.
Watch Wind River and appreciate the work of Taylor Sheridan.
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The Shape of Water: When Elisa Met The Creature
The Shape of Water is what happens when Guillermo del Toro is able to have full creative control and flex his creature design muscles. It is an ode to the monster films of old, and tells one of the most unconventional loves stories I’ve ever seen. I loved that del Toro was able to make a hard R-rated love story that features lots of blood, profanity and cat eating (least favorite part). I loved hearing the audiences reaction in the packed theater because I don’t think they knew they were getting themselves into a hardcore (yet lovely) Guillermo del Toro movie.
An interesting fact about Guillermo del Toro is his films with budgets under $25 million (Cronos, Devil’s Backbone, Pan’s Labyrinth, The Shape of Water) have a Tomatometer average of 92.25%, and his films with higher budgets (Mimic, Blade 2, Hellboy 1 & 2, Pacific Rim, Crimson Peak) have a Tomatometer average of 71.1%. Both scores are fresh, and it’s obvious that his cheaper art films that he had complete control of would be over 90%. I just like that he is guy who excels when his vision is unencumbered and he can embrace a neat world of beauty, love and the macabre.
The Shape of Water focuses on a mute janitor named Elisa Esposito who works in a secret government laboratory. She is stuck in a boring daily routine (which del Toro does a great job filming) and her only friends are her next door neighbor Giles (Richard Jenkins) and her co-worker Zelda (Octavia Spencer) Her life changes when a shadowy government agent named Strickland (Michael Shannon – dude is the best) brings in a captured amphibious man (Doug Jones) and locks it in a very convenient water tank. Elisa eventually begins a neat relationship with the creatures that revolves around eggs, music and more eggs.
As the trailers show, Elisa is able to rescue the creature from being autopsied with the help of Dr. Robert Hoffstetler (Michael Stuhlbarg) and her neighbor Giles. However, due to something involving the rainy season they need to keep the creature holed up for a month in her apartment. The two eventually form a neat bond, and their rendezvous are filmed beautifully and almost make you forget they are a true odd couple. However, their domestic bliss won’t last long because the government and Russians want the creature back, and the always terrifying Michael Shannon is hot on its trail.
The only problem I have revolves a moment that should’ve been whimsical but is instead really rude. During one of their love making sessions Elisa blocks the bathroom door with towels and turns on the sink and bathtub. The water eventually fills up the entire room and two proceed with their beautiful looking tryst. My issue is that the water starts spilling through the door and starts flooding the entire building that Elisa lives in. Earlier in the film we met her nice landlord and we learn that the theater isn’t doing so well. That’s why I hated that in a moment of whimsy she caused a shit ton of property damage via flooding water.
Aside from a couple minor quibbles, The Shape of Water is beautiful film that is rightly up for some major awards. If you are into beautiful set design, fantastic performances and 100% earnest direction you will love every second of this movie. Go see it on the big screen!
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The 10 Best Action Characters of the 2010s
The action films of the 2010s have given the world some fantastic new characters, headkicks and new characters being decapitated via a head kick. Between comic book films, the Fast series and Mission Impossible’s resurgence we’ve been blessed with quality action films that go out their way to shock and awe. We’ve been lucky enough to witness the world’s longest runway (Hello Furious 6) and watch Brad Pitt get chased by insanely fast zombies (World War Z). I think The Raid: Redemption and 13 Assassins are damn near perfect, and I felt like I got a concussion by just watching Brawl in Cell Block 99. Also, between Furiosa (Mad Max: Fury Road),and Mallory Kane (Haywire) we’ve been blessed with some scene stealing female action heroes.
The following post covers the 10 best action characters of the 00s. They are an odd lot who all have one thing in common. They are awesome!
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I love Samuel L. Jackson in Kingsman: The Secret Service and Daniel Bruhl in Captain America: Civil War but they didn’t really get their fingers dirty in action sequences. Sure, they tortured, shot and harassed many but I wanted this list to feature characters who got in the action and wiped some folks out.
I really wanted to add Fast Five’s Gisele (Gal Gadot) and Han (Sung Kang) but their characters originated before 2011. There are many fantastic characters (John Wick, Hobbs, Lucy) who didn’t make the list, but I’m sure they won’t care because they are too busy flexing.
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1. Rita Vrataski – Edge of Tomorrow (2014)
Emily Blunt’s Rita Vrataski was an effortless badass who wasn’t simply a Tom Cruise love interest. She imbued a soul and personality into a character that was stuck in what seems like a very uncomfortable costume. What I love about the performance is that you 100% bought every moment of alien smooshing and Tom Cruise killing. Blunt believably added humor, physicality and stoicism to a character that could have easily been one-note in a lesser actors hands.
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2. Artemisia – 300: Rise of an Empire (2014)
Eva Green owned every second of 300: Rise of an Empire. She straight up went for it and seemed to be having a blast playing Artemesia. I love when actors/actresses own their roles and dive into absurdity with zero self consciousness. Green gave us a fantastic villain who is way more layered than she had any right to be.
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3. Bradley Thomas – Brawl in Cell Block 99 (2017)
Vince Vaughn is an absolute badass in Brawl in Cell Block 99 and I bought every second of his rampage. What I love most about Bradley is how he realizes the situation he is in (it’s bad) and knows what is at stake (his family). I don’t think I’ve ever watched a film and actively thought “I would not want to be hit by that guy.” There are moments that feature Bradley absolutely destroying folks and it feels very human and mythical. Bradley bleeds and gets hurts, but nobody can stop him. You need to watch Brawl in Cell Block 99.
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4. Furiosa – Mad Max: Fury Road (2015)
Imperator Furiosa is a marvel of a creation. In the six months that Charlize Theron spent filming in the African desert she and George Miller created a character for the ages. She is a one-armed badass who has no problem going head to head with a guy called Immortan Joe. She drives a massive war rig, commands respect from her subordinates, battles Mad Max and can shoot a gun like a pro. Charlize Theron is one of my favorite actresses and I loved her in Young Adult, Arrested Development and Mad Max. In movies like Prometheus and Snow White and the Huntsman she was stuck in the icy villain role. In Max, Furiosa has a warmth to her that goes along with her effortless badass.
What I love most about Theron’s performance was nothing was forced. Sometimes when tasked with playing a post-apocalyptic war rig driver the actor would go over the top with bluster, bitchiness and a weird deep voice. Theron’s Furiosa wears her heart on her sleeve and doesn’t quite know what she is getting into. She is obviously respected by her peers and Immortan Joe respects her enough to send his entire War Boy party after her. Furiosa at times seem close to tears but has no problem skeet shooting the foes that come at her.
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5. Mallory Kane – Haywire (2011)
Haywire is a badass James Bond-esque action film that only Steven Soderbergh could make. Haywire is full of fantastic action that puts Gina Carano’s skills to full use. Her MMA background is used to bone crunching effect in her fight with Channing Tatum. He walks in, complains about being hungover, throws coffee in her face and smashes a coffee cup on her head. From there we get a badass brawl that involves restaurant patrons, coffee pots and a slick armbar. It is fast, violent and doesn’t resort to choppy editing. I love how Soderbergh lets the camera linger as the actors beat the crap out of each other. Soderbergh couldn’t have done this without someone of Carano’s caliber and I appreciated every second of her various battles.
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6. Shinzaemon– 13 Assassins (2010)
If you haven’t watched Takashi Miike’s 13 Assassins you need to do it now. It is an insanely violent epic that features 13 Ronin battling an incredibly evil man. What I love about Shinzaemon (Koji Yakusho) is he is putting his life on the line to stop a tyrant. He knows what will happen if the evil lord Naritsugu (Goro Inagsaki) gains further power so he gathers some tough guys and they go to war. 13 Assassins features the best action scene of the 2010s, and you will find yourself rooting for the world weary Shinzaemon as he makes many people bleed.
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7. Gerry – World War Z (2013)
What I love about World War Z is that it doesn’t let you catch your breath for the first two-thirds of the film, then it makes you hold your breath during the conclusion. Jerry (Brad Pitt) is an ultimate survivor who always keeps moving and throws himself headlong into danger. He knows he can’t stop and while carnage is erupting all over the place he stays cool and survives. Tell me who else could survive an airplane crash, zombie swarms, riots, more zombie swarms and a gross zombie who chomps its teeth like a creeper. Jerry is a badass because he knows how to survive.
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8. Rama – The Raid: Redemption (2011)
Rama is an action god and I love the physicality that Iko Uwais added to the role. He is a nonstop ball of violence who would put the Energizer bunny to shame. What I love about The Raid is that it never stops. It is urgent, bloody, intense and thrilling. Rama is a good dude surrounded by bad dudes, and he beats them all up. The Raid is action perfected.
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9. Cassian – John Wick: Chapter 2 (2017)
You may be scratching you head as to why a guy who was defeated by John Wick would be in the top 10. The reason Cassian made the list is because he is probably the only person who can give the “boogeyman” such a great fight. I loved that Cassian never thought twice about hunting Wick and their battles across the city of Rome were epic. There is something to said for a guy who knows who he is fighting and never thinks to back down. Cassian took it to Wick and proved himself to be an almost equal to the baddest man on the planet. Basically, I love that Cassian trusted his abilities enough to engage in an all out fistfight with an almost supernatural foe.
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10. Alejandro – Sicario (2015)
Benecio Del Toro is the most believable badass since Maximus in Gladiator (2000). I bought everything he did and I was fully on board with his death dealing. He might be the scariest character on the list because he is driven by revenge and has ice water running in his veins. You need to watch Sicario because between Emily Blunt’s unselfishness and Roger Deakins cinematography, it is an almost perfect film.
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30 Days of Night: A Fantastic Vampire Film That Doesn’t Get Old
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I’ve been a fan of 30 Days of Night since it was released in 2007. I love how it features a solid cast, A+ visuals, and introduces well-dressed vampires who are really mean. When I say the vampires are “mean,” I genuinely mean it because they are nasty f**kers who won’t hesitate to straight up destroy people. Director David Slade (Hard Candy, Hannibal, American Gods, Black Mirror) imbued 30 Days of Nights with a welcome dose of dread, violence and bird’s eye shots that make death and destruction beautiful to look at. Most importantly, famed horror disliker Roger Ebert had a soft spot for the movie and in his review he quoted a review from Dreadcentral.com that did a fantastic job breaking down the film:
If you are a horror fan, you will love it, and in the interest of equal time for the defense, I close with evocative prose by the critic Tristan Sinns from his five-dagger (out of five) review on DreadCentral.com: ” ’30 Days of Night’ grabs this hoary monster by the throat, pumps it full of the thick rich blood of life, and shoves it out to greet you, eat you and coat you in glorious mists of red firing from oh-so-many newly exposed arterial sprays.”
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If you are curious as to why I am writing a very late review of 30 Days of Night it is because I recently finished up Penny Dreadful (super good) and saw that this movie was now on Netflix. I’ve written about it in the past when it was voted one of the “best horror films that won’t be on any top horror lists,” and I later included in my “best 21st century horror moments” article. However, I’ve never written about it in-depth and after watching it again, I wanted to dedicate a review to it.
I was initially excited for the film because it was produced under Sam Raimi (Evil Dead, Spider-Man) and Rob Tapert’s (more Evil Dead) Ghost House Production company. I will watch pretty much anything Sam Raimi does and I liked David Slade’s Hard Candy, so 30 Days of Night seemed like a slam dunk. However, I wasn’t expecting the film to look so good or feature such extreme bleakness. Cinematographer Jo Willems (Hard Candy, Hunger Games 2-4, American Gods, Limitless, Red Sparrow) did a fantastic job, and his work elevates the proceedings and some of the shot/moments are drearily beautiful..
The bird’s eye view of the carnage is a brutal moment.
30 Days of Night revolves around a gang of well-dressed vampires attacking an Alaskan town that is settling down for a month of darkness.. The blood-suckers are aided by a squirrelly human “The Stranger” (Ben Foster) who goes into town in order to kill the sled dogs, take out the power, and glower like only Ben Foster does. Once all the communications have been shut down, the vampires attack and unleash an insane amount of carnage and blood geysers. The brutal attack doesn’t kill all the townsfolk and a handful of survivors lead by local sheriff Eben Oleson (Josh Hartnett) and his estranged fire marshal wife Stella (Melissa George) hunker down and attempt to survive the long night. From there, things get very brutal as humans are used as traps, child vampires spill blood, and several people are decapitated.
The biggest issue I have with the film is what happens after the massive vampire attack. I understand that the survivors had to hole up in various locations to make sure they lived through the 30 days of night. After they hunker down the timeline gets a bit wonky and the passing of the time doesn’t feel organic. The downtime grinds the momentum to a halt and focuses on some side characters making very bad decisions that gets them brutally murdered Also, I agree with a review from Empire’s James Dyer who thinks it could’ve happened in one night because we never get a feel for the 30 days.
An underrated aspect of 30 Days of Night is Josh Hartnett’s performance. Hartnett has been fighting monsters for over 20 years (Halloween H20: 20 Years Later, The Faculty, Penny Dreadful) and I totally believed that he could take out feral vampires. My favorite line happens when the lead vampire Marlow (Danny Huston – crushing it) says “The one who fights,” when squaring off with Hartnett at the end. It’s rare when you can actually believe that a character could win a fistfight with a centuries old beast.
I like Melissa George and Josh Hartnett together.
30 Days of Night is a genuinely good horror film that hits above its weight, looks beautiful and delivers the vampire goods. Check it out on Netflix!
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Download the pod on iTunes, PodBean, Stitcher or
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SUMMARY: This week we discuss the films Mayhem (2017) and The Belko Experiment (2016), and evaluate the fun cheekiness and brutality that divide these two films. We also explore the notion of “office horror” as a subgenre, the alliances and sociology between victims and bad guys, the utility of grand conspiracies as plot devices, and how exactly movie viruses spread.
Fans of this episode (or these films) should check out our reviews of Mayhem (2017; John’s Review, Mark’s Review), The Belko Experiment (2016), and perhaps even The Purge (2013).
For more horror podcast discussions, check out…
Episode 113: Elise, her Demons and the Insidious Franchise
Episode 108: The Best Horror Films of 2017
Episode 78: Carpenter vs Zombie Halloween Rematch (1981 vs 2009)
Episode 76: The Blair Witch Pod (1999-2016)
Download the pod on iTunes, PodBean, Stitcher or
LISTEN TO THE POD ON BLOG TALK RADIO.
Please SUBSCRIBE, REVIEW, RATE and SHARE.
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The Killing of a Sacred Deer: Yorgos Lanthimos is a Madman, and I Can’t Wait to See What He Does Next
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Before I get into the review I really want you to watch a clip from The Lobster. Director Yorgo Lanthimos shot The Lobster before The Killing of a Sacred Deer and I think it will give you a good idea of what his films are about.
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What I love about Lanthimos is how he blends humor with pitch black comedy. You will find yourself laughing at the most insane things imaginable and you really don’t feel bad about it. His dialogue comes across an as an alien language that nobody on the planet would ever speak, yet it feels natural in his films. If you can get into the feel-bad vibe and overall insanity of his films you will find joy in the bleakness.
The Killing of a Sacred Deer revolves around a surgeon Steven Murphy (Colin Farrell) dealing with an incredibly squirrelly young man named Martin (Barry Keoghan). There is something amiss in their relationship and it’s evident he keeps this kid in his life because of a past wrong he committed. Steven lies about how he met the kid, and tells his wife Anna (Nicole Kidman – awesome) and co-worker Matthew (Bil Camp) differing stories that would never hold up. You can tell that Steven hasn’t thought this through, and doesn’t consider Martin to be dangerous or conniving. Steven introduces Martin to his family and very weird things start to happen. I’m not going to go into specifics because they are crazy and would wreck the insanity of the plot twists and ending.
Lanthimo’s dialogue is truly odd, but if you can ride it out you begin to understand the flow and appreciate what he is going for (bleak quirk). Also, this film and The Lobster have made me appreciate what a great actor Colin Farrell is. He was fantastic in In Bruges, The New World and Beguiled, but those roles weren’t quite as odd. In this film the dialogue is clipped, stilted and nobody on the planet would sound similar. However, Farrell embraces the odd and finds a way to own the dialogue and direction and have fun with it. If you are going to be in a Lanthimo film you need to trust him and I love how the actors dive in and embrace the art. Here a clip from the film that will help you get a feel for the dialogue.
In the end, I much preferred Dogtooth and The Lobster to The Killing of a Sacred Deer. I missed the dark humor that permeated Lanthimo’s first two films. I’m not saying I didn’t enjoy his latest effort, I just agree with Farrell when he calls it the “feel bad movie of the year.” The experience didn’t leave me shook or exhausted, it left me feeling like I enjoyed the film while never wanting to watch it again.
If you are into odd dialogue, dark humor and blood you should watch The Killing of a Sacred Deer.
Movies, Films & Flix 