7 Best Movies To Watch After The Masque of the Red Death (1964)
Eileen
Thomasin McKenzie & Anne Hathaway burn up the screen in William Oldroyd’s unsettling thriller. Eileen will likely be lost in the holiday season shuffle among such spectacles as the upcoming Wonka and awards-friendly fare like Ferrari. On the other hand, it’s unclear under what circumstances Eileen would make a big splash. It’s an odd, occasionally off-putting little film that wouldn’t work as well as it does if not for the scorching chemistry between its two leads. Based on Ottessa Moshfegh’s (also odd and occasionally off-putting) novel of the same name, Eileen stars Thomasin McKenzie as the titular character, a lonely young woman stuck in a miserable rut. Living in the most depressing town in Massachusetts circa 1964, Eileen is forced to take care of her alcoholic, mean-spirited father (a chilling Shea Whigham, still somehow not one of Hollywood’s biggest stars), a former cop who’s taken to waving his gun at their neighbors. Working as a secretary at a juvenile detention center, though she’s in her twenties she comes off as someone much younger, a meek and awkward child merely dressing up as an adult. Eileen also has a child’s taste for doing things like ignoring her hygiene, stuffing herself with candy, and compulsively masturbating, while maintaining a rich fantasy life involving rough sex with a detention center guard, or murdering her father. Her boredom has reached pathological levels. Continue Reading →
悪は存在しない
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Nightmare Alley
Back in 1998, Gus Van Sant released his remake of Alfred Hitchcock’s Psycho. It wasn’t a good movie, but it provided two decent critical talking points. Firstly, was it actually a remake, or was it another adaptation of Robert Bloch’s novel? Given that Van Sant’s film was a shot-for-shot recreation of its 1960 predecessor save for two or three differences, it was a rarity in that, given its context, it ended up being the former. It, for all its failures in execution, used semiotics to circumvent the aforementioned semantics of its identity. Continue Reading →
Last Night in Soho
Has any other director in recent years had as frustrating a creative decline as Edgar Wright? Discounting his feature debut—the 1995, no-budget A Fistful of Fingers—his streak was white-hot. Two series of Spaced both developed and prefaced his earnest eye for nerd culture, leading up to what would become his Cornetto Trilogy. His work was so loving, so finely tuned, and, especially in the case of Scott Pilgrim vs. the World, some of the most pop-culturally keen around. However, Baby Driver couldn’t help but sit in neutral; it was a pet project missing heart. With that out of the way, perhaps there was something more substantial to come next. Continue Reading →
Halloween Kills
With the release of The Rise of Skywalker and the upcoming Ghostbusters: Afterlife, the term “fan service” has come to mean going to extremes in order to please fickle audiences of a TV series or film franchise. Though framed as an acknowledgment and appreciation of fan support, it feels forced and phony, an Easter egg hunt where a plot should be. While David Gordon Green and Danny McBride’s 2018 reboot of Halloween was far from a perfect film, they were determined to make it their own, rather than continuing the same interminable, by then thoroughly ridiculous storyline. Its sequel, Halloween Kills, however, feels like whatever Green and McBride were originally trying to do was shoved aside in favor of winks and nods at the “true” fans of the series. The body count is much, much bigger, and almost laughably gory, but if you’re looking for any kind of coherent plot and characters not doing anything but the stupidest things imaginable, look elsewhere. Continue Reading →
The Green Knight
It’s no more than a few minutes into its 132-minute runtime that The Green Knight lays its cards on the table. It doesn’t really subvert expectations here; it’s not like it immediately carves out its identity. Rather, it makes itself clear in the most literal of ways, although in one that doesn’t register as such immediately. After an opening in which Sir Gawain (Dev Patel) wakes up hungover and half-naked, the camera tracks him from behind through sweaty medieval corridors and out into the cloud-covered morning. As he walks through the village, text flashes across the screen declaring itself “a filmed adaptation.” Continue Reading →
Candyman
Built in 1970 and finished in 1973, Chicago's Sears Tower was the epitome of neoliberalism. Whereas the other, more traditionally liberal buildings were humble and for the people, this one was better. It was bigger, taller, providing more room while taking up less space. It even beat out the Empire State Building with its 1,450 feet. Suffice it to say its edifice knew no bounds. But while it already dwarfed its sky like a capitalist Godzilla, it added antennas to grow another 279. The result was an onyx symbol that, with all its simplicity, said, “Come to me. Be my victim.” Continue Reading →