Ari Aster’s debut feature horror/drama film has caused quite a stir so far. With such quality horror films that have come out in recent months/years as “A Quiet Place” (2018), “Get Out” (2017) and “The Witch” (2015), to name just a few, it may be safe to say that the calibre revival of the genre is in full swing. It also seems like a long time has passed since we had to rely solely on James Wan (“Insidious” (2010), “The Conjuring” (2013)), horror sequels or classic movies for some kind of decent horror entertainment. “Hereditary” is an impressive and scary film, but not in the way most will assume. Its tricks, twists and general horror content may have been recycled from previous movies, and its inner intelligence and coherence will no longer awe discerning horror/thriller fans that have followed recent movies. Nevertheless, where “Hereditary” really impresses is in the setting-construction, in the unhurried building of the right, creepy atmosphere, in its attention to detail and characterisation, and, of course, it impresses with its top-notch acting, the kind that we probably have not seen in a horror film, maybe even since “The Silence of the Lambs” (1991).
Little Women (1994)
It is Christmas eve, and while I want to wish all my readers a very Merry Christmas, I thought I would also review one of the films that could make Christmas all the merrier. In 1993, Gillian Armstrong (“Oscar and Lucinda” (1997)) directed just yet another, as everyone then thought, adaptation of the famous novel by Louisa May Alcott “Little Women”. Based on the true-to-the novel script by Robin Swicord (“Wakefield” (2016)), the film stars such great names as Susan Sarandon, Winona Ryder, Gabriel Byrne, Kirsten Dunst and Christian Bale. The story is about four girls of the March family and their modest, but interesting lives in times of the Civil War in the US. A very much Christmas movie, Armstrong’s “Little Women” perfectly conveys the heart-warming camaraderie of the four girls, telling of their lives’ ups and downs as they try to find their way in the world torn by hardship.
Movies Silently is hosting the Swashathon or the Swashbuckler Blogathon, and I could not pass this opportunity by to review Randall Wallace’s “The Man In the Iron Mask” (1998). As many of you would know, today is also Bastille Day or la Fête nationale in France, which provides for another excuse to delve into a film portraying France. Here, despite many critics’ allegations that “The Man In the Iron Mask” is laughable, flimsy and disrespects the novel by Alexandre Dumas it is based on, the film is actually an enjoyable ride from start to finish. If the audience does not take this film too seriously, and allow themselves to be carried away by the plot, action and the humour, they are in for a treat. The visuals are delightful, the music composed by Nick Glennie-Smith is great, and the film has a cast many directors would “die for”: Leonardo DiCaprio (“Revolutionary Road” (2008)), John Malkovich (“The Portrait of a Lady” (1996)), Jeremy Irons (“The Correspondence” (2016)), Gabriel Byrne (“I, Anna” (2012)) and Gerard Depardieu.
I, Anna (2012)
“I, Anna” is a 2012 noir mystery thriller starring Gabriel Byrne and Charlotte Rampling. The film is a directional debut of Barnaby Southcombe (who is known for a TV series and who is also Rampling’s son). In “I, Anna”, the plot centres around a lonely woman, Anna Welles (Rampling), who becomes the centre of attention for the detective Bernie Reid (Byrne), who, in turn, investigates the murder of a man in a London apartment. As Bernie becomes infatuated with the mysterious woman and her strange behaviour, he realises that she may have more to do with the murder case than initially meets the eye.
Miller’s Crossing (1990)
Loosely based on Dashiell Hamett’s ‘Red Harvest’, ‘Miller’s Crossing’ is an intelligent gangster film shot in the style of a film noir, directed by Joel Coen, and produced by Ethan Coen and Mark Silverman. The film centres on Tom Regan (Gabriel Byrne), who is the “right hand” of Leo O’Bannon (Albert Finney), an Irish-American political boss, running a Prohibition-era city somewhere in the US. Leo has a “beef” with Johnny Casper, a gangster and his Italian rival. Leo’s girlfriend is Verna, whose brother Bernie Bernbaum has a contract on his life and is wanted dead by Casper. The idea here is that by “giving” Bernie to Casper to kill, Leo and Casper can come to a peaceful understanding and agreement. However, Leo is reluctant to do so because of his girlfriend, who wants to see her brother alive. Tom thinks that Leo is making a mistake. However, Tom also has an affair with Verna, seemingly being in love, and therefore is also, at least “deep inside”, is trying to protect her. When Tom starts to “play” both sides, some unexpected events start to take place.