Lustful until the very end.
This was really good, exemplary of Paul Schrader's understanding of slow cinema and his love of building tension like a series of Jenga blocks. The film's encapsulation of faith as a balance between hope and despair is explicitly preached at one point but delivered from the lips of a weary-as-all-hell performance in Ethan Hawke. It deals with some heavily prescient issues that should shake the core of any religious American in 2018 while also giving Hawke a chance to say…
Have you ever witnessed or experienced racial tokenism? A sensation that your exotic nature as a foreigner to a white person is seen as an opportunity to "add value" to their idea of craft?
Well, if you haven't and are looking, seek no further than Colossal. A film that initially demanded my respect for its incredibly low budget and mashing up of the Kaiju genre with depictions of battling personal demons.
The central character, Gloria is a seemingly well-off New…
I certainly will never show my mother this film.
The Babadook is startlingly effective as a rather conventional horror film that veers into psychologically manipulative territory. By weaving in various themes of grief, alienation and motherhood, it uses these building blocks to make the horror more subversive and unsettling rather than exploiting shock value. To its credit as well, the reveal of the so-called "Babadook" is restrained and aptly relies on the viewer's imagination to elevate the terror.