Plug in, turn on, and cop out.
An absolutely cozy time despite the first story having an indefensible politic. The Raft is the strongest segment, the one adapted from a Stephen King short obviously. Rick Catizone does his best Ralph Bakshi impression with the animated interstitials. Tom Savini makes for a fine Creep. K.N.B. EFX Group knocks it out of the park with the golem coming to life and the raft kills. Some very fun scores as well from cacophonous synth work to a 70s exploitation medley. Endless love and care.
A little over two decades ago, an avant-garde filmmaking movement started by two Danish directors intended to take power back from the studio system spurred the creation of some of the first feature films to be shot digitally, all with consumer grade equipment.
A little over a decade ago, Michael Mann's Collateral paved the way for mainstream films to be shot digitally, this time using equipment far more suitable for the job.
Since 2008, the Academy Award for Best Cinematography has been awarded exclusively to films shot digitally.
None of them look better than this.
Olga is such an odd character, her shoulders slouched, eyes underneath dark bangs darting suspiciously, her walk a stiff legged pivot. She's shy and timid, ever calculating and shut in inside of herself. To find out afterwards that this is a historical figure is impressive due to the definition they gave her existence. I went in blind so what can be chalked up to untreated mental illness kind of felt like a gray area that maybe deserved interpretation. That was…