As it goes with Antoine Fuqua’s features, masculinity and morality are at the forefront of The Magnificent Seven. It would seem, then, that a cast full of compelling actors and material derived from Akira Kurosawa and John Sturges would be a perfect fit for the director’s sensibilities.
Full review at Film Racket: filmracket.com/the-magnificent-seven-2016/movie-review
The words “found” and “footage” appear in the opening text of The Blair Witch Project and the film that follows ushered in a subgenre that’s been omnipresent ever since. Sure it wasn’t the first, but the 1999 flick brought the technique to the mainstream and most found footage movies since have faltered with justifying the style and/or using it effectively. For every [REC] and Cloverfield there are seemingly dozens of indistinguishable queasy-cam snoozers. Blair Witch, the sequel to the granddaddy of modern pseudo-documentary horror, belongs with the indistinguishables.
Full review at Film Pulse: filmpulse.net/blair-witch-review/
Part of Criterionucopia 2012
At one point in David Cronenberg’s “Videodrome” low rent cable TV producer Max Renn asks what Freud would say about a woman in a red dress…
I wonder what Freud would say about a vaginal cavity in Max’s chest that has videotapes inserted into it for the purpose of mind control; oh, and also can melt people’s arms and makes for handy gun storage. If presented with this, I think maybe Freud’s head would explode like…
"Session 9" had been in my queue for quite some time and I'm glad I finally caught up with it. Was inspired after being pleasantly surprised by Brad Anderson's "The Call" and was even more impressed with this film.
It sets up the situation beautifully and the location is perfect. It is ominous and rundown, because it's ominous and rundown - it's not an obvious set creation. Tension builds throughout and we aren't insulted with flash cuts or cheap jump…