***EDIT (March 30, 2014)***
Wow! I never would have expected that I'd get anywhere close to 100 likes on this…
ENTRANCE is about the limits of our perception, how the things lurking on the periphery of our lives can lead to horrific conclusions; about how she fell out of love with the city, but it wouldn't let her go.
I only knew two things going into this film: one, that it was a slow burn, and two, that most people say the final twenty minutes justify the unremarkable first hour or so. Well, I both agree and disagree with that sentiment; it was indeed a slow burn, and the third act did make a lot of sense juxtaposed with the voyeurism of the first two acts, but I can't help but feel a little bit let down. Most people who didn't like this film were disappointed by the monotony of the first two acts, but I was actually more disappointed by the third act. I suppose, to some, the tedium and unrelenting realism of the first hour are what…
Most days in our lives are very mundane. We wake up each day and go about our business. For many the everyday routine is what gives them that sense of normalcy. Entrance is about things lurking on the periphery of our lives. Things that go unnoticed during our everyday routine that could lead to horrific consequences.
Entrance is a psychological thriller from newcomers Dallas Richard Hallam and Patrick Horvath. The story centers on Suzy (Suziey Block) a young woman who lives in Los Angeles with her roommate and dog. She leads a pretty normal life, but she's a bit of a loner and seems to have some anxiety issues. Her car is a piece of shit so she walks everywhere…
I don't know where I first heard of this film as it has been on my watchlist for ages and was the second film ever added judging by my list.
Finally, tracked it down on Netflix and kinda liked it.
The first hour is slow as we get to know the main girl and her mundane life where slightly odd things happen around her.
Final twenty minutes are tense and frustrating as the shit that make this a horror film go down.
Oh and it has one of those endings!
I remember reading Stephen King's enthusiastic rave review for this micro-budgeted indie horror film in Entertainment Weekly months ago, but then forgot about it for quite a while until I saw some Letterboxd reviews and then was happy to see it available on Netflix streaming!
I'm gonna echo pretty much every other review (including Stephen King's) by being really vague and not saying much. Best to experience this one knowing as little as possible going in.
The definition of slow-burn horror, ENTRANCE stars Suziey Block as Suzy, a barista living in Los Angeles. For most of the movie, we simply watch her rather ordinary life. Wake up, feed the dog, go to work, hang out with friends, repeat. She's nice…
So this one is very, very tough to rate.
This film is a slow thriller with a glacially paced build up toward a tense and sometimes brutal final 20 minutes. And by glacial I mean excruciatingly so.
This aesthetic choice fits the theme. It's all about voyeurism. By making the first hour go exclusively about our main character, showing us snippets of her life and filming it in such a way that we are thrust in the role of observer. For me, I guess, this had the desired effect as I at points felt like I was stalking her.
This meanders on for a long, long while and gradually we are shown hints that something is not quite right. What…
This is the first movie I've seen in a long time that I honestly don't know how I feel about it. It is either a masterpiece of a slow burn thriller dealing with the loneliness and day to day repetition of living in a city or it is a complete pile of wankery and a waste of time.
I really don't know who the intended audience is for this movie. Your average horror fan will probably not make it past the first 30 minutes. Neither will a casual viewer who happens to just pop it in for a movie night at home. I understand why the filmmakers took time to give us insight into the girl's world. I understand that they wanted us to feel what she feels. I just don't know if it makes for an entertaining viewing experience when all is said and done.
Note to 10 Cloverfield Lane: this is how you do a third act genre shift.
Quiet and careful study of the delicate balance between trust and suspicion. One of the few films that gets L.A. right. Refreshing low-key horror.
If you have patience, you will love it.
This review may contain spoilers. I can handle the truth.
Hard to know how to feel about this. On the one hand, it's a portrait of an uninteresting slice from the life of a young woman who is neither heroine nor antiheroine, but just there, a portrait in which a profoundly passive character never seems to learn or grow. On the other hand, after its prolonged slow burn, the movie abruptly transitions into a bravura sequence of terrifying violence. If the movie is seen as being primarily an impressionistic sketch of the human condition, then the movie's ending constitutes a kind of thematic collapse or cop-out. In spite of the filmmaker's admirable efforts to build an unsettling sense of vague but increasing threat, the ending can't help…
A friend recommended this, said it was like Starry Eyes but better. He was wrong on both counts.
The last 20 or so minutes would make a tolerable and decent short film, but the preceding hour is the kind of boring mumblecore bullshit that I hate, the lack of any content masquerading as a worthwhile slow burn.
Almost lethally patient to a doozy finish
I don't want to say too much about Entrance, but I will say it was a nice return to my mumblecore films and I really liked the way it was shot.
Best to go into it knowing as little as possible.
Seriously torn on this one. There are flashes of real substance before the swift, unexpected descent into Hell that is the last twenty minutes, such as the furtive moments when Suziey is being catcalled or followed. The whole first hour consistently shifts from being a subtly unsettling character study to smug drivel written by a computer programmed with some sort of Mumblecore 101 text.
Not going to lie, though, the final ludicrously extended shot is both technically impressive and creepy as all fuck get-out.
Wait for it wait for it wait for waittttttt for ittttttt
I don't get why we're still jusHOLYMOTHEROFGODDAMNSHITFUCK
***EDIT (March 30, 2014)***
for the keeping of tracks through the accumulations of a need-to-haveness and other sudden onset preoccupations
comprised of files > discs…
Casually lumping these into one massive heap as if it was a complete genre of its own (which it kinda…