Rodrigo Moreno’s The Delinquents is not a heist film, but it does begin with an elaborate bank robbery. It is not exactly a thriller, either, though it borrows from plenty of the tropes you’d find in an exciting thriller film with a heist as its centerpiece. Elaborate planning, blackmail, prison politics, uneasy partnerships, paranoia of being found out, and the hiding of wads of cash all play an important role in the film. But The Delinquents is more like a slow cinema crime epic than the films it borrows these caper conventions from.
The three-hour-long film begins with a desire for cash and ends with a liberation of self. Morán (Daniel Elias) has spent a long career working at a bank, and he is still Continue reading The Delinquents (2023) Movie Review→
If someone tried to argue that cooking is the most cinematic activity, it wouldn’t take much to convince me. The Taste of Things would make a good Exhibit A (or Exhibit B under Tampopo. Or Exhibit C under Big Night. Et cetera). When done right, there is something about the film depiction of cooking that just feels whole, like a full experience. Cooking is tactile, textural, occasionally sensual. It brings all of the senses into harmony. For someone like me who doesn’t know the first thing about the craft or art of cooking, The Taste of Things might be the closest I’ll come to understanding that harmony (I don’t even know half of the ingredients in the dishes prepared in this film).
Sean Durkin’s films are about haunted people. In The Nest, the English manor the characters move to becomes a haunting symbol of their marriage crumbling down around them in the present. The protagonist of Martha Marcy May Marlene is haunted by her traumatizing past in a cult. The characters of the Von Erich brothers in The Iron Claw are haunted by their futures.
The reason for this forward-looking anxiety is the brothers’ parents. Their father, Fritz Von Erich (Holt McCallany), owns the Dallas-based wrestling league the WCCW, and he only really expresses pride and love for his sons when they Continue reading The Iron Claw (2023) Movie Review→
Andrew Haigh’s All of Us Strangers is a story about a haunted man, which becomes a film about a (potentially more literal) haunting. The film’s main preoccupation is with conversations which never happen. Adam (Andrew Scott), an aspiring screenwriter, is using the script format to try and crack into his inner visions of his deceased parents. Hypothetical conversations play out on screen, where Adam divulges to his parents things he never had the chance to while they were alive. His mum and dad (Claire Foy and Jamie Bell) appear younger than Adam; they are the last version of them he can remember, as they died in a car crash when he was still a boy.
These dialogues are the heart of the film, despite a great performance by Paul Mescal that props up the film’s other half: a budding romance between two lonely men who are living in an almost entirely empty high rise. As the film progresses, the Continue reading All of Us Strangers (2023) Movie Review→
I am not a historian. It doesn’t take a historian, though, to understand that the 1954 film Godzilla is about the devastating possibilities of human-made destruction that was realized in the wake of World War II. What we are capable of, as a species, was demonstrated in many different ways in those years, and Godzilla bottles the anxieties surrounding our own extinction into a distinct (and now very recognizable) figure. Ishirō Honda’s film is most remembered for introducing kaiju monsters to the mainstream, but it is as much a film about the human characters on the ground who must deal with what is towering over them as it is about Godzilla.
What has been lost in the Americanized iterations of the Godzilla IP is not so much this human focus (there are plenty of human characters, I just couldn’t tell you any of their names). What is lost is the Continue reading Godzilla Minus One (2023) Movie Review→
What makes a monster? It’s a question we can consider from two perspectives (two of many possible). The first is those primordial things that make up evil: those pieces of the human condition that must be foreclosed such that a person can do monstrous things. The second involves an act of creation. What is it within our civilized society that seeks to identify and call out the bad of humankind? Who crafts the narratives that cast some as villains and others as victims, and through what contexts are these narratives codified and/or agreed upon? At least…agreed upon enough that stories with monsters become tropes that are legible to us, or agreed upon enough that guilty verdicts can be reached in homicide cases.
Satan Wants You and Devils are screening as part of the Fantasia International Film Festival, which runs from July 20 to August 9.
Devils
Kim Jae-hoon’s Devils is a crime thriller with a premise similar to that of a body swap movie. Police detective Jae-hwan (Oh Dae-hwan) disappears for a month after pursuing a sadistic serial killer (Jang Dong-yoon), only for both the cop and the killer to resurface unexpectedly. Jae-hwan wakes in a hospital to find himself Continue reading Fantasia Festival 2023 Movie Reviews — Satan Wants You, Devils→
Aporia, Hundreds of Beavers, and Emptiness are screening as part of the Fantasia International Film Festival, which runs from July 20 to August 9.
Aporia
A year after Sophie’s (Judy Greer) husband dies, her daughter remains despondent. She is truant from school, failing classes, and she wants nothing to do with her friends or mother. When her late husband’s best friend (Payman Maadi) shows her a time machine he’s been building, Sophie decides to Continue reading Fantasia Festival 2023 Movie Reviews — Hundreds of Beavers, Aporia, Emptiness→
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