Dario Argento’s horror film “Suspiria” is an immaculate production, one that almost commands you watch it with unbreaking attention. While many have argued it lacks a narrative and often times feels aimless, Argento vies more for a cinematic experience than something that relies heavily on narrative. “Suspiria” feels like one long fever dream, and Argento paints every scene like its being influenced by pure evil. While Suzy herself is being influenced by witches and witchcraft, the audience itself also seems to be pulled in to the same seat, watching every bit of setting being altered in to this realm.
In a small town, a hurricane causes mayhem and destruction. A father and his two sons attempt to outrun it in the family’s tow truck. As they become stuck, the father puts his sons in a house for safety. Before he can unstuck his truck, the hurricane closes in, a skull shape comes out of it before the truck disappears and the house starts tumbling. Now if this doesn’t sell you on seeing the film, the rest of the story takes place in present day during a heist at a federal reserve happening under the cover of a massive hurricane stronger than the one in the opening. Good guys and bad guys face off under this epic hurricane.
Although George Romero wasn’t as particular or gung ho with his filmmaking as Stanley Kubrick was, you can’t really sit through “Night of the Living Dead” without feeling like everything is so deliberate. Like what is the significance of Barbara looking through the music box? Why did Johnny approach Barbara with his gloves on? And why did Romero blatantly film one of the dead with its eyes moving? Was it was considerably faint attempt to humanize the monsters that we’d see be hit with fire and shot to death throughout the film? Or was it his reminder that through and through these were once people with human impulses and their urges for human flesh are still a part of some human impulse? “Night of the Living Dead” is so nightmarish and intricate that I love picking it apart every single time I’ve seen it and it leaves me stunned every single time.
Following a whirlwind romance, Katie follows Jay to Los Angeles to spend a few more days with him. After he has to leave for work, she is left alone in his apartment where odd things are happening at an accelerating rate.
Chalk it up to rock bottom expectations, but “It” blew me away when it arrived in theaters mainly because it exceeded my expectations and proved to be a stellar film all around. Andres Muschetti already killed it with his adaptation of his short “Mama,” but he brings his same sensibility in another coming of age tale where pure evil meets innocence. “It” is a masterstroke of a reboot, a movie that pays tribute to the original novel and re-invents every aspect from the ground up for a new audience without dumbing down the material.
Written by Yann Brion and Frédéric Schoendoerffer and directed by the latter, Fast Convoy is a road movie and a drug movie while it also kinda feels like a heist movie in that these guys, in multiple cars, are basically trying to make it to a destination with illicit merchandize. The film is rather character-based with each character traveling with a co-pilot and taking orders from an unseen man. The story builds around them as they drive. While the title is a bit misleading, the film does have a few car-chase-ish scenes which have occasional nods to different car films and may or may not be influenced by the Luc Besson way of shooting cars on the road (low to the ground, front car pov). The car stuff is really one of the main appeals to this film and the scenes are well done and shot.
Written by Ryan M. Andrews and Chris Cull with the former directing as well, the Art of Obsession takes something that could have been a small infatuation with a woman in danger, the need to save and turns it into an unhealthy obsession that is dangerous for all involved. The story is interesting and has interesting developments while some of them are a bit less so making the film uneven and with a few predictable plot points. The film does however do a very good job of showing a victim who won’t give up on herself, on her own salvation as an opposite to her captor who has given up on his good side almost completely for the appeal of the next hit, the next success, the next accolade. The dichotomy of these characters leads to an interesting watch as the viewer sees them evolve in each their own way, influenced by each other and each of their needs.
Jessica Loren is new on the job; her first shift is the last shift of a closing, empty station. As her shift rolls on, odd things start happening and she can’t tell if they are real, imagined, or just a prank.