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Genre:

Horror, Sci-fi

Release Date:

2022

Director:

Netflix

Cast:

Millie Bobby Brown, David Harbour, Gaten Matarazzo, Natalia Dyer

Plot Summary:

The upcoming fourth season of the American science fiction horror drama television series Stranger Things, titled Stranger Things 4, is scheduled to be released worldwide exclusively via Netflix’s streaming service in 2022.

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Classics

Reel Recommendations: Possession – One Restoration You Do Not Want To Miss

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One of my favorite elements in the horror genre is taking a contemporary story and somehow implementing the genre’s core elements. Take the film Cure (1997) directed by Kiyoshi Kurosawa; the film is about a detective who is investigating a series of grizzly attacks by a serial killer. On the film’s surface, it is your simple crime-thriller ala David Fincher’s Se7en (1995) or his 2007, Zodiac. However, throughout the film, the viewer gets inside of the mind of his victims in a psychological battle between light and dark; understanding the killer’s motivations and way of attack. Enough talk about Cure (1997), that is for another time.

I hold this element of the genre close to my creative heart because the genre does not always need a monster or killer or the loose, the genre is about set-up, execution, and the atmosphere in which those two elements listed are contained. If you are looking for more horror films like that, that are not about unstable detectives, look no further than Andrzej Żuławski’s Possession.

This 40-year-old lost film has recently been gaining a cult following and the film distributor Metrograph has graced film fans with a restoration. My thoughts on that are listed below the review.

Isabelle Adjani, Sam Neill @ Possession (Andrzej Żuławski, 1981

Possession is a film about how division; division of two people who seem to be at odds and have fallen out of love for one another amidst the middle of the Berlin Wall, a division of communication between a couple and the affair that has brought them down as well as a division of body and state. Possession is about the breaking point between a couple as they’re in the very early stages of a divorce. They both have simply fallen out of love with one another and have started sleeping with other people, mainly Isabelle Adjani’s Anna. As Sam Neil’s Mark understands the situation unfolds, the more angry and sickly he becomes. There are points where he will look like he has not eaten in days and looks incredibly pale-skinned. There is a moment throughout the first 25 minutes where Neil is having a seizure in a cold sweat.

While Possession is a body horror in terms of visual effects, its a body horror from the performances given. We see both of the films leads reach sadistic and stomach-churning when it ocmes to range. The first half being dedicated to Sam Neil’s perspective of the situation and how he is treating himself during this change, where he goes from calm to physically abusive. Then as the story unfolds, Żuławski pays more attention to Adjani’s Anna, as an audiences we are opening the curtain to what she has been up to when the camera is not focused on her. The camera work works in one takes with very abrupt takes in its editing. Żuławski wants everything to feel like one fluid motion rather than have multiple takes for one single scene. The subway scene in particular roughly has about two-three takes and you do not evne notice because of how hypnotized you are to Adjani’s otherworldly performance. I am treading lightly on the plot due ot the genius of this film is to go in knowing nothing.

Isabelle Adjani, Sam Neill @ Possession (Andrzej Żuławski, 1981

Possession is one of those horror films that were lost in time but recently have been gaining a resurgence through word of mouth and many clamoring for a Criterion blu-ray release, and for good reason. Possession includes some of the best performances I have ever witnessed with direction that is unpredictable and keeps the audience on the edge of their seats. If there is one restoration you should have eyes on it is this one.

Restoration Review

Possession not only is a wonderful film but is also one of the best restorations I have seen recently. Metrograph elevates the horror film and at times looks like it was made from the last decade. The stark blue color pallette shines due to how cold and emotionally distant the characters are. The sound design is wonderful, every whisper is heard and understood, every scream feels like a scare, every tension-building moment plays like gangbusters. This is one restoration you do not want to miss especially for cult-genre fans.

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SCREAM: ‘Ghostface Is Back’ In First Featurette

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GHOSTFACE IS BACK

FEATURING NEW FILM FOOTAGE AND SOUNDBITES FROM THE CAST & EXECUTIVE PRODUCER KEVIN WILLIAMSON
.

Paramount Pictures and Spyglass Media Group have released a new featurette for Scream which highlights the legacy of the iconic Ghostface and also new and returning cast. The Identity of the masked slasher has certainly changed over the series but still retains the iconic voice and mask, and as you see in the featurette below this ghostly figure has emerged once again and I for one am sure that blood will indeed be shed.

Twenty-five years after a streak of brutal murders shocked the quiet town of Woodsboro, a new killer has donned the Ghostface mask and begins targeting a group of teenagers to resurrect secrets from the town’s deadly past. Neve Campbell (“Sidney Prescott”), Courteney Cox (“Gale Weathers”) and David Arquette (“Dewey Riley”) return to their iconic roles in Scream alongside Melissa Barrera, Kyle Gallner, Mason Gooding, Mikey Madison, Dylan Minnette, Jenna Ortega, Jack Quaid, Marley Shelton, Jasmin Savoy Brown, and Sonia Ammar.

The film’s producers are William Sherak, James Vanderbilt, and Paul Neinstein. The executive producers are Kevin Williamson, Chad Villella, Gary Barber, Peter Oillataguerre, Ron Lynch, Cathy Konrad, and Marianne Maddalena. It is written by James Vanderbilt and Guy Busick. Scream (2022), directed by Matt Bettinelli-Olpin and Tyler Gillett, arrives in theatres on January 14, 2022.

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Classics

Reel Recommendations: The Exorcist III

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This sequel to a horror classic needs more love and attention nowadays!

If there is any horror film synonymous amongst film fans and horror movie veterans, it is William Friedkin’s masterpiece The Exorcist, and for good reason! It’s a living nightmare of a film; a cinematic embodiment of what it means to fear for your own life especially when it comes to the residential home life. Also touching subject matters of helplessness and grief. Friedkin not only created something atmospherically disturbing but metaphorically terrifying as well, thus creating a classic status towards the film. And while many horror sequels attempt to capture that “lightning in a bottle” energy that its predecessor has created, some succeed and some fail at doing so. It is rare for a film to even be better than that first film, but William Peter Blatty’s The Exorcist III is one of those rare instances where it completely outshines the original.

The Exorcist III [cred. Morgan Creek Prod.]

Set 15 years after the original film, The Exorcist III is a film that pulls a Halloween III: Season of the Witch approach of storytelling and not particularly be about any sort of monster rather than a social issue. In this film’s case, it is about the mysterious “Gemini Killer”. We see Lt. Kinderman solve the case through hospitals and even his own nightmares. Sure, the film does not seem like a straight sequel to the original film, but that’s the genius of it all. Kinderman and Father Dyer are still shaken after the events from the previous film, both meeting up once a year to catch up and try to forget. Doing so by either drinking or seeing a movie, both still living normal lives up until that day rolls around the corner. George C. Scott plays the role of Kinderman with such explosive range; from his most emotional and down-traught to his craziest when he comes close with Brad Douriff’s “The Gemini Killer”. Speaking of Douriff, he is an absolute standout and a delight to watch on screen. Even in other films, he is always the best-acted one not only in the room but in the cast listing and The Exorcist III just might be my favorite performance from him. On the surface, The Exorcist III is a typical mystery-thriller but it truly is elevated by its atmospheric tone and off-the-walls third act. What elevates it in terms of creep-factor and effectiveness of being considered in the horror genre is its slow-burn aspect and unexpectedly hitting the audience with startling imagery. Tonally, compare The Exorcist III to Tobe Hooper’s The Texas Chainsaw Massacre 2, both completely different films from their predecessor but sequels that reinvent the wheel in their franchises. The Exorcist III plays the same in terms of structure from the first film; depicting a man who is living in a nightmare and is constantly haunted by his past and is constantly battling that struggle via recent events. The Exorcist III is the perfect Halloween film and one of my favorite horror movies of all time and will consistently rewatch it and be mesmerized that a film like this exists in our lifetime.

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