I’ve only watched two of Lanthimos’ films including this one, but among those works I’ve noticed a sort of singular obsession of his. In both The Lobster and The Killing of a Sacred Deer we see him cast different forms of relationships in a brutally cynical light. While The Lobster tackles our inherent fear of dying alone, The Killing of a Sacred Deer functions as an all-out assault on the nuclear family. Perhaps by itself that’s not entirely a unique…
A fun combination of meta-textual horror deconstruction and legitimate slasher shenanigans, Scream is goofy genre fun. Although lazily made parody films have become something of a staple, Scream instead exists in the limbo between all out parody and self serious schlock. Its slasher set pieces, particularly the iconic introductory scene, are creative, while deviating enough from the vanilla blood baths that define much of 70s and 80s horror. By making empowering the victims, and having a sense of humor, Scream helped inform the notion of modern horror films.
Get Out is an exceedingly tightly plotted horror-comedy that manages to simultaneously be a scary self-parody, and a poignant social commentary.
One of the most commendable attributes of Get Out is its meticulously crafted screenplay. Every line has purpose, whether that purpose is foreshadowing future events, a double meaning that can only be understood once the full picture is clear, or framing the characters. All of the film’s twists are hidden in plain sight, disguised in double entendres and visual…
What a wonderful cacophony of violence.
The first John Wick movie was a great surprise, a tightly knit series of gunfights and well-choreographed action. It took small jabs at the standard revenge premise, while simultaneously imbuing the mayhem with emotional heft.
However, that was only the beginning for Chad Stahelski and friends, and in John Wick Chapter Two they somehow managed to one-up the original with a series of absurdly cool action vignettes tied together by captivating world building.