Robert Eggers managed to make a film more Satanic than his previous, which actually featured a performance by Satan.
As committed to it’s period look and dialogue as The VVitch was to it’s, Vast of Night has a maniacally fetishistic love of period recorders, radios, and switchboards. Lucky for audiences it also tells a great, spooky story with great restraint and no bloodpacks.
More from the Paradox Theater, please.
Having a Scot in the lead and not having him say “do ye wanta get sood?" seems like a real missed opportunity.
If you want to know to what degree this passes the Stephen King loyalty test, there’s a cat named Azzie that identities people who are near death. There's also, of course, a scene of people visiting their memory palaces.
It probably shouldn't be, but it's interesting how much of an analogue to 2010: The Year We Make Contact…
This thing is like a concussion-riddled NFL player that just refuses to quit way past when they should’ve; it starts off spry and clever but just gets dumber and dumber until it all ends in a pointless roid-rage massacre.
If you polled me at the 2/3-ish mark I’d probably give it a gentleman’s 3, but by the time it’s finished bludgeoning you with it’s third climax, you’re just begging to get unceremoniously shotgunned in the face.
On the upside, re:…
I was really signed up for this. Robert Rodriguez is a central figure in my personal film canon. He's an imperfect director but his earnestness and zeal for genre filmmaking shine through on all of his projects.
Rodriguez has had a short stint in low security director jail; a series of low budget failures (Rodriguez is the only studio-adjacent guy that is this fast and this cheap) and frankly a couple very disappointing moviee. He keeps promising to…