May (Brea Grant), the protagonist of Lucky, suffers the condescending disinterest of the police, reductionist head-shrinking of social workers, and emotional manipulation and gaslighting of her partner (Dhruv Uday Singh). Oh, and she also gets attacked by a masked man every night of her life.
Lucky, written by Grant and directed by Natasha Kermani, is a lean (perhaps too lean) horror satire that imagines society’s patriarchy, microaggressions, and trauma as a surreal nightmare cycling again and again with no end in sight. As far as “social horror” goes, it’s a pretty perfect premise.
The film starts as a fresh twist on an old favorite. May and her husband Ted are attacked in their home by an intruder in the middle of the night. Only, Ted is shockingly nonplussed by the situation. In fact, Continue reading Lucky (2021) Movie Review→
It took no longer than one minute watching Tom & Jerry for me to realize that this animation-live action hybrid reboot of the classic cartoon wasn’t going to go well. Once I saw a trio of animated pigeons lip-syncing to A Tribe Called Quest’s “Can I Kick It” as they fly over the New York City skyline, I just knew. I could sense that the team behind this film—namely director Tim Story and screenwriter Kevin Costello—didn’t have a firm grasp on what would translate this older intellectual property into something entertaining to a new generation of youngsters.
The problem isn’t necessarily the hackneyed technique of adding a cool hip-hop soundtrack to a property not known for such sounds. It isn’t even really the conceit of bringing cartoon characters “into the big city,” a premise which has been used in such big screen duds as The Smurfs (2011). The real issue I have Continue reading Tom & Jerry (2021) Movie Review→
The initial premise of J Blakeson’s I Care a Lot reads similar to Martin Scorsese’s The Wolf of Wall Street. Jordan Belfort exploited the ignored, undervalued currency in penny stocks and hit it rich. Marla Grayson (Rosamund Pike) exploits the ignored, undervalued currency in elderly care and hits it rich.
Gamifying the system of old folks’ homes, Grayson convinces the legal system to give her soul legal care of elderly patients suffering from “dementia” (read: some “mental confusion,” as quoted by a corrupt physician). She has an agreement with a care facility to dump off her wards. Meanwhile, she flips their homes and sells their belongings. She lines the wall of her office with headshots of her victims, dotting them with color-coded stickers—a point system. It’s a game.
It isn’t often when a movie with the singular perfect title comes along; just the best movie title of all time. Studios might as well not title new movies from here on out. They just will not be as good. The ghost of Orsen Welles wishes that he would have thought of the name Psycho Goreman when he shot Citizen Kane. Citizen Psycho Goreman might have actually won the Oscar for Best Picture.