Luca Guadagnino (“Call Me By Your Name” (2017) and “I Am Love” (2009)) is rebooting Dario Argento’s cult classic of the same name, and from the many plot similarities, it can be described as a remake (despite what actors may say). There seem to be both similarities and differences in the presentation: the music hints at the original, but some visuals are innovative. My favourite element here will be Tilda Swinton as Madame Blanc, a clever cast. It will also be interesting to see her character’s antagonistic tension and relationship with the character of Dakota Johnson. My concern is that I hope the film will remain dark and provocative with nice scary jumps, and not become too ridiculous. I am also disappointed with the cast of Johnson. She seems to be good here, but my belief is that someone younger with more remarkable features should have been cast in the lead role. Since it is Luca Guadagnino, a stylish and thought-provoking presentation is guaranteed. The original material is also intriguing, so it promises to be a good film. Continue reading Luca Guadagnino’s “Suspiria” and Steve McQueen’s “Widows” Trailers
The Killing of a Sacred Deer (2017)
This film proved to be the most divisive at this year’s Cannes Film Festival, and there was a good reason for the audience and critics to feel so confused and uncertain. “The Killing of a Sacred Deer” is a product of Yorgos Lanthimos, the director who is making his name as a master of original, unsettling and thought-provoking films; the director who is already an expert in crafting awe-inspiring settings which as much provoke as they disturb, and which the more mainstream audience could hardly even fathom. In “The Killing of a Sacred Deer”, a well-to-do surgeon (Colin Farrell) strikes an unlikely friendship with a fatherless boy, without even realising the possible negative consequences of their ever-closer union. A seemingly mundane plot here slowly transpires into something unimaginable, and with the excellent support from Nicole Kidman, and with impressive Barry Keoghan and Raffey Cassidy, this film becomes an almost brilliant interplay of the unusual, the menacing and the astonishing, while being totally effective throughout.
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The Beguiled (2017)
Sofia Coppola’s “The Beguiled” has probably been one of the most anticipated movies of this summer, and is based on the novel by Thomas P. Cullinan, initially titled “A Painted Devil”. In “The Beguiled” (2017), Miss Martha (Nicole Kidman) runs an all-girl boarding school in Virginia amidst the waging of the American Civil War, and among the remaining six of her pupils are highly-strung Edwina (Kirsten Dunst) and a boy-crazy girl Alicia (Elle Fanning). All is well, until one of the girls, Amy (Oona Laurence), discovers a wounded Yankee soldier (Colin Farrell) in the periphery of their school, and decides to bring him to school so that he can receive an immediate medical help. As the soldier recovers, however, he stars to pay special attention to the girls in the school, sparking fits of uncontrollable passion, and, ultimately, suspicion and jealousy. Although the film is beautifully shot, it is also a misguided attempt to produce something evocative and deep. Sofia’s “The Beguiled” has virtually no character development; the plot, which misses the dramatic point of Cullinan’s book completely; and the film’s choice of the cast is almost as bad as its adapted script.
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Based on a book by Thomas Cullinan and directed by Sofia Coppola, “The Beguiled” stars Nicole Kidman, Colin Farrell, Kirsten Dunst and Elle Fanning. The all female cast (apart from Farrell) and the colour reminds me of Sofia Coppola’s previous masterpiece of a film “The Virgin Suicides” (1999). I hope this film is at least half as good.
Fantastic Beasts and Where to Find Them (2016)
Directed by David Yates and written by J.K. Rowling, “Fantastic Beasts and Where to Find Them” is a new film telling the story of Newt Scamander, the famous writer of the Hogwarts’ s textbook “Fantastic Beasts and Where to Find Them” in the magical world of Harry Potter. The film follows Newt as he arrives to New York City, U.S. with a suitcase full of magical creatures. When he inadvertently loses these same creatures, he incurs the wrath of the US Magical Congress, but, as it turns out, it becomes just one of his worries, as he partners with a Non-Maj (Muggle) Kowalsky and (ex)-Auror Tina to find his missing creatures. Especially stunning in an IMAX 3D, the movie is spell-binding, gorgeously portraying the wizarding world of the United States in the 1920s, and all the unimaginable creatures in existence. Recently, it has also become known that there will be four other movies in the “Fantastic Beast” franchise, all directed by David Yates.
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A new film based on a short booklet titled “Fantastic Beasts and Where to Find Them” by J.K. Rowling is scheduled to come out later this year, but is it a good idea to re-visit the Harry Potter world once again on screen?
Here are five reasons why it may not be:
I. Re-visiting: although Rowling is confirmed as a scriptwriter for the upcoming movie, who would really ensure that the Harry Potter world would not be “meddled with” or changed unnecessarily in the film? Even the author herself could not provide that assurance. Every re-visiting of the Harry Potter world has its consequences, and, due to the nature of the film, there will be many additions introduced to the Harry Potter world. For example, it has been confirmed that there will be additions to the wizarding world language and culture as it is presented in the U.S. The bottom line is that the Harry Potter books may not be read the same anymore, whether the change is welcoming or not.
Continue reading “Fantastic Beasts and Where to Find Them” (2016): Five Reasons for Harry Potter Fans to be Concerned
The Lobster (2015)
“This is just to show how easy life is when there is two of something rather than one”, says the Hotel Manager in “The Lobster”, as one of the protagonist’s hands is restrained using a small lock. This is pretty much what this movie is all about: a near-future society obsessed with couples; viewing couples as the normality, as opposed to single people who are viewed as unproductive and undesirable. In that way, the film shows David (Colin Farrell), a newly single person who is transferred to the Hotel, a place where single people have just 45 days to find a suitable mate, and, if they fail, they would be transformed into animals of their choice.
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