13 Best Movies To Watch After 28 Weeks Later (2007)
Poor Things
Yorgos Lanthimos directs a sumptuous adult fairy tale featuring Emma Stone at her very best. Here’s the thing about Yorgos Lanthimos: you’re either on board with him, or you’re not. Even in The Favourite, arguably his most accessible film, there’s a sort of joyful grotesqueness to it, leaving the audience laughing and wincing simultaneously. His latest offering, Poor Things, is his most visually dazzling film yet, with moments of stunning beauty and bittersweet insight, but still isn’t afraid to test the audience’s sensibilities. It’s a film about what it means to be alive, every little disgusting aspect of it. Based on Alasdair Gray’s novel of the same name, Poor Things opens in dreary black and white London, where eccentric scientist Godwin Baxter (Willem Dafoe) is overseeing an experiment that’s both miraculous and horrifying. Baxter, whose face looks like it was carved into several pieces and then put back together the wrong way, has brought a woman back to life after she committed suicide. The woman, whom he’s renamed Bella (Emma Stone, with a magnificent pair of eyebrows), initially has the mind of a toddler, but she’s learning and maturing at an astonishing rate. Bella refers to Godwin as “God,” and so far knows no one and nothing else but him and their home together. Continue Reading →
A Haunting in Venice
The first two entries in director/actor Kenneth Branagh’s foray into Agatha Christie adaptation lost the magic of the English writer’s mysteries. With his third attempt, A Haunting in Venice, Branagh decides to make considerable changes to the story. Using the bones of Christie’s Hallowe’en Party, writer Michael Green changes the setting from a small town in the English countryside to a palazzo in Venice. Branagh emphasizes the gothic elements of Christie’s story, leaning on the horror of the location, the manic nature of the children’s Halloween party, and the gruesome moments before and after an unexpected death. Continue Reading →
Westworld
My mother was not much of a movie fan. They just never interested her that much, but when it became obvious that I was obsessed with them by the time I reached preschool age, she did nothing to discourage me. Every once in a while she'd let me know that the feature on the The 3:30 Movie (my primary outlet for watching films in those pre-cable, pre-VCR days) was something that I had to watch. Oddly, her instincts often proved to be correct and I was exposed at a very early (perhaps inappropriately so age to such films as The Producers, Duel and the Joan Rivers-penned TV movie The Girl Most Likely To. . ., all of which would be long-standing favorites of mine. Continue Reading →
Teenage Mutant Ninja Turtles: Mutant Mayhem
Despite their hue, not all TMNT films deserved to be greenlit. Kevin Eastman and Peter Laird created The Teenage Mutant Ninja Turtles back in 1984. Now almost 40 years later, what started as a comic book has inspired seven movies, five television series, and countless amounts of merchandise. This week the four ninja tortoises return in a new animated incarnation, Teenage Mutant Ninja Turtles: Mutant Mayhem. Considering I’ve been a fan of the Turtles since six years old, this seems like the perfect time to put an official rating on four decades of movies. Some are gnarly, some tubular, and there’s always a whole lot of cowabunga. Writers Note: This list doesn’t include the recent Netflix installment Rise of the Teenage Mutant Ninja Turtles: The Movie, a TV-movie crossover Batman vs. Teenage Mutant Ninja Turtles, or the live recording of the 1990 Coming Out of Their Shells stage show. That one you can catch on YouTube, although I don’t know why you would. Continue Reading →
Dead for a Dollar
With the exception of Clint Eastwood, Walter Hill is the contemporary filmmaker most closely associated with what was once the most American of film genres, the Western. They've been in relatively short supply for the last 50-odd years, but with projects like The Long Riders, Geronimo, Wild Bill, Broken Trail, and the pilot episode of Deadwood (not to mention modern-set takes on the form like Extreme Prejudice and Last Man Standing), Hill’s been doing what he can to keep the form and its traditions alive. His latest, Dead for a Dollar (his first film in six years), is unlikely to spur a revival anytime soon and its bypassing of theaters for a VOD release all but ensures that it will be overlooked by all but his most dedicated fans. The good news is that those fans—and any others who should come across it—will be rewarded with a sturdy, entertaining work that overcomes its occasionally apparent budget constraints to serve as a welcome reminder that Hill remains one of the most fascinating genre filmmakers of our time. Continue Reading →
Spider-Man: No Way Home
How Marvel's latest cuts through the MCU trappings to deliver one of Spidey's most personal stories yet. Please note that this article contains MAJOR SPOILERS for Spider-Man: No Way Home. If you consume enough Spider-Man stories, you start to notice the malleability of the character. The assorted movies, shows, video games, and comic books all have their different takes on the wall-crawler and can plausibly plop him into different settings and moods. But you’ll also witness the two central aspects of Peter Parker that unite the various versions of the character across eras and mediums: (1) he chooses to do good, even when it’s hard, because he knows it’s the right thing to do, and (2) he suffers mightily for it. Continue Reading →
Le Calendrier
Christmas horror exists for the same reason Christmas lingerie does, to slaughter some sacred cows and try for a little “shock the normies” shenanigans. It works, sometimes: consider Silent Night, Deadly Night, which so offended Gene Siskel and Roger Ebert that they read aloud on their show the names of everyone who worked on it, from director down to the catering team, in an effort to publicly shame them. Most of the time they’re egregiously silly, as attempts to make Santa Claus (too many to count), snowmen (the version of Jack Frost that didn’t star Michael Keaton), elves (Elves), and gingerbread men (The Gingerdead Man) scary have fallen flat. Now advent calendars are given a creepy sheen in Patrick Ridremont’s The Advent Calendar, but this time it mostly works. Continue Reading →
Eternals
It's funny to think about the mission creep that's escalated within the Marvel Cinematic Universe since its debut in 2008 with the first Iron Man. Watching Eternals, you can't help but wonder that all of this started, as Jeff Bridges once quipped, in a cave with a box of scraps. Now, with Thanos and the events of Eternals, the MCU truly delves into the cosmic -- the vast span of space and time, and the very fabric of the universe at stake. And yet, the bigger and longer the MCU grows (heh), the more weightless it all feels; there's heaps of ambition at play in Marvel's latest, at least within the meager confines of Kevin Feige's franchise stewardship, but its reach exceeds its grasp. Continue Reading →
The Addams Family 2
The Addams Family characters have existed since 1938 and yet they’ve never felt as tired as they do in The Addams Family 2. A “kooky and spooky” family once known for subverting the norms is now the star of a movie that couldn’t be more ordinary. If you’ve seen one subpar computer-animated kids film from the last 15 years, you’ve probably seen all the worst bathroom and slapstick gags The Addams Family 2 has to offer. Here’s a feature that can’t be called a success unless it’s intended goal was to make one yearn for the sophistication of Hotel Transylvania 2. Continue Reading →
Brain Freeze
In an environment where film festivals are struggling to figure out how much access to give both attendees and press, The Montreal-based Fantasia International Film Festival has always been a godsend of genre offerings, especially for American press who want to cover virtually. Here we are with the 25th edition of the fest, and the first few days' worth of films have been well worth it. We'll be covering all month long, so keep an eye out for these dispatches as we go. This year's fest opened with writer/director Julien Knafo's absurdist zombie comedy Brain Freeze, in which an affluent island community off the coast of Quebec suddenly falls prey to an infestation of zombies -- created by the mutant fertilizer from a Monsanto-like agro conglomerate meant to keep the rich golfing all year long. These zombies don't necessarily lust for brains; they just want to bite and murder and spread their numbers. The only folks who don't fall prey, of course, are a slothful teenage boy named André (Iani Bédard), who drinks nothing but Diet Coke, and his baby sister Annie. They run into a paranoiac survivalist security guard named Dan (Roy Dupuis), who hauls around his zombified daughter (Marianne Fortier) in search of a cure. Zombie movies are never short on social commentary, and Knafo certainly has plenty of targets here, from the uncaring companies who do anything to hide accountability to the idleness of the rich and the obliviousness of smartphone-addicted kids. But that obviousness sometimes get in the way of more sophisticated laughs or thrills, Knafo's approach sometimes proving too dry for the Shaun of the Dead-level gags the film's clearly going for. Some jokes work great -- I'll never not laugh anytime someone has to use a severed hand to unlock a phone -- but it's in service to some pretty creaky, unoriginal commentary. (One subplot involving a far-right radio host goes particularly nowhere apart from serving as an unnecessary Greek chorus. And don't get me started on the mute, sexy twin lady corporate assassins.) Continue Reading →
Pig
The sense of rot in Pig is almost constant. There’s progression but no real growth for much of its short runtime, no feeling of true human connection through its first half. For a while, its empathy only comes from within. It comes within its hero; its intimacy only blossoms when there’s no one else to dry it from the roots up. The man in question is Robin (Nicolas Cage). He was a well-known chef but has since jumped ship, living in a shack in the Oregon wilderness and hunting truffles with his foraging pig. His only consistent human interaction is with a yuppie-type named Amir (Alex Wolff), but that’s strictly transactional. Continue Reading →