In a Violent Nature

In a Violent Nature (2024)

June 28, 2024Posted in2024, Authors: Walter Chaw, Canada, Drama, Horror, Theatrical, Thriller

**/****
starring Ry Barrett, Andrea Pavlovic, Cameron Love, Lauren Taylor
written and directed by Chris Nash

by Walter Chaw Chris Nash’s In a Violent Nature is wonderful on a technical level, but I’m suspicious of its motives. The best you could say about it is that if it likes slasher movies, it likes them for what seems like many of the wrong reasons; and the worst you could say is that maybe it doesn’t like slasher movies at all. At best, it doesn’t understand them and, because of that, doesn’t respect them. And because of that, I had a feeling it was mocking them–like being caught in an awkward conversation with someone explaining something you love back to you as something they think is, at its heart, a silly distraction. (Or, in this case, a vacuous dispenser of cheap thrills.) I suspect In a Violent Nature‘s primary influences were not, despite a few superficial call-outs, Twitch of the Death Nerve or Halloween or even the more atavistic Friday the 13th saga, a series commonly misread as shallow and puerile. No, what it most resembles is Gun Media’s asymmetrical third-person, open-world Friday the 13th survival game from 2017, which allows you to play as hockey-masked Jason Voorhees while a camera follows you over your right shoulder, Dardenne Brothers-style. The difference is that the video game has Jason’s mother’s voice urging him on, coddling him with warmth when he’s dispatched another victim, thus giving him a constant prod to engage in various, fruitless attempts to be a dutiful son, the desired offspring of a lost parent. The video game, in other words, sees the slasher as a vehicle at some level for exorcizing mental disturbances caused by abandonment and unrequited love for a parent. In a Violent Nature is essentially the feature-length version of that brilliant Geico commercial where a group of twentysomething idiots eschew a running automobile and hide behind a wall of chainsaws in a well-lit kill shed instead.

Comer and Butler in The Bikeriders

The Bikeriders (2024)

June 27, 2024Posted in****/****, 2024, Authors: Walter Chaw, Crime, Drama, Theatrical

****/****
starring Jodie Comer, Austin Butler, Tom Hardy, Michael Shannon
based on the book by Danny Lyon
written and directed by Jeff Nichols

by Walter Chaw It’s hard to feel sorry for men, because the tragedy of so many of them is that they are only able to express themselves through violence. Our culture fetishizes violence, genders it male, and admires men who enact it while pathologizing those incapable of expressing themselves productively. Jeff Nichols’s The Bikeriders is another of his films about men trapped inside repressive systems: punished for their intuition, for tenderness and kindness, for love, for heaven’s sake. His films aren’t complicated, but in their romantic simplicity, they can be dazzlingly, emotionally complex. What causes brothers to fight at their father’s funeral? A man to mortgage everything he has to build a storm shelter? Another to ferry an unusual boy he fears he can’t protect across the country to the care of people who can? Nichols’s films are the stories of us all as victims of our hardwiring, whether it’s you who stands before me or me who can’t get out of my own way. They are elegies because there are few happy endings for men who choose violence or the people who would like to forgive them even when they’ve done nothing but keep the gentle parts of themselves encased in sinew and rage. I wanted to disappear inside The Bikeriders.

Alyla Browne in Sting

Sting (2024) + Infested (2023)

June 23, 2024Posted in2024, Australia, Authors: Walter Chaw, France, Horror, Sci-Fi, Streaming, Theatrical, Thriller

STING
***½/****
starring Ryan Corr, Alyla Browne, Penelope Mitchell, Jermaine Fowler
written and directed by Kiah Roache-Turner

Vermines
***½/****
starring Théo Christine, Sofia Lesaffre, Jérôme Niel, Finnegan Oldfield
written by Sébastien Vanicek and Florent Bernard
directed by Sébastien Vanicek

by Walter Chaw If Jeff Wadlow’s Imaginary and John Krasinski’s If are opposite sides of the same coin, so, too, are Kiah Roache-Turner’s Sting and Sébastien Vanicek’s Infested: the first pair identifying a desire for imaginary friends, the second a desire for anthropomorphized things with which to share our otherwise empty and desperate lives. Each offers different nightmare scenarios for what happens when we try to escape into our fantasies of saviours and second–or first–comings. Each serves as a warning that we are the only thing that can save us; everything else is just a distraction. (I know If is meant to be a kid’s movie, but holy shit.) When patterns appear in our culture, I find it useful to at least begin a conversation about why that might be. I mean, when fish start floating belly-up to the surface of your pond, it seems dense not to wonder what’s in the fucking water. With only a few months left until our last election, it seems a good time to leave a monument here to the bleak timeline saying that pretty much everyone saw everything coming with clarity and rage and eventually resignation and despair once it was proven the people who could make a difference had already come and gone. We are cursed to live in interesting times, and we’re loath to suffer them alone.

Inside Out 2 (2024)

Inside Out 2 (2024)

June 15, 2024Posted in2024, Adventure, Animation, Authors: Walter Chaw, Comedy, Disney, Drama, Family, Japan, Pixar, Theatrical

*/****
screenplay by Meg LeFauve and Dave Holstein
directed by Kelsey Mann

by Walter Chaw Inside Out 2 hasn’t resolved any of the issues I had with the first film, which boil down to if I’m meant to treat this conceit seriously, then you should probably treat it seriously, too. I grew up with Judy Blume and can’t recall a single instance in her books where a young girl’s emotional development was a playground for cheap gags and high concepts. The sequel’s plot is inane, of course: Riley (voice of Kensington Tallman) goes into puberty around the time of summer hockey camp and experiences the complexities of self-doubt, self-loathing, and anxiety attendant to adolescence. All her thoughts and actions are retrofitted around the decisions made by a cadre of anthropomorphized emotions as they battle for supremacy over a TARDIS-like control centre located somewhere, it seems, in Riley’s frontal cortex. The stakes are elevated because Riley is a vulnerable young woman, not because she’s an especially well-developed character. Because she’s blonde, blue-eyed, and adorable, every little thing that doesn’t go well for her is cause for people raised in this culture to tsk and worry. I would go so far as to say the stakes are outsized for what this is, i.e., a nonce of a nothing-burger, precisely because we are hardwired to cherish this species of porcelain vessel independent of any personal knowledge of her. She is a pinnacle of a cultural ideal, and if she is troubled, we are troubled.

Originally it was East and West Dakota (Dakota Fanning in The Watchers)

The Watchers (2024)

June 12, 2024Posted in2024, Authors: Walter Chaw, Fantasy, Horror, Ireland, Mystery, Theatrical, Thriller

**/****
starring Dakota Fanning, Georgina Campbell, Olwen Fouéré, Oliver Finnegan
screenplay by Ishana Night Shyamalan, based on the novel by A.M. Shine
directed by Ishana Night Shyamalan

by Walter Chaw Let’s get something straight: I love terrible movies like Ishana Night Shyamalan’s The Watchers, a handsomely mounted, well-cast, high-concept bit of folderol that swings wildly at a soft, underhand pitch…and misses. But you can’t fault the effort, the desire in that swing–the arrogance of it. It’s the hubristic brio of a Ken Griffey Jr. tearing a rotator cuff striking out at t-ball. M.’s daughter isn’t exactly the Mighty Casey, but the lead-up to The Watchers carries with it the same mythopoetics, the same anticlimactic denouement, the same whiff of mustiness that comes with a reference to Ernest Lawrence Thayer in 2024. Granted, that’s my fault for noticing it. I also thought a lot about “People Are Alike All Over,” that “Twilight Zone” episode where astronauts figure out they’re the new exhibits in an interstellar zoo, and another “Twilight Zone” called “Five Characters in Search of an Exit,” in which five disparate individuals find themselves in a mysterious container, isolated from the outside world. I thought of Walter Kubilius’s incredible 1954 novella The Other Side, which influenced Peter Weir’s exceptional The Truman Show, and of Raymond Feist’s 1988 Faerie Tale, one of my all-time favourite horror novels. So hail to the skilled excavators, or at least the dedicated raiders of popular culture. Hail to the hyphenate debut that feels like something I picked up on 99¢ VHS rental Friday at King Soopers in 1991. Hail to nepotism working as it should by reintroducing the concept of the mid-level genre piece to curry favour with a former A-list director who keeps letting the air out of his own tires. And hail to the new “Night Shyamalan” who has learned her lessons exquisitely, the good and the bad. Just like that, she’s neatly doubled the number of directors of terrible movies I will like a little bit.

If

If (2024)

May 27, 2024Posted in2024, Authors: Walter Chaw, Canada, Comedy, Drama, Family, Fantasy, Theatrical

*/****
starring Ryan Reynolds, John Krasinski, Cailey Fleming, Steve Carell
written and directed by John Krasinski

by Walter Chaw The message of John Krasinski’s excruciating If is that you are never too old to have an imaginary friend–or, rather, you will never be so old that you won’t need an imaginary friend. Let’s all just sit with that for a minute. Work it around in your head. You will never…be so old…that you won’t need…an imaginary friend. Is that a warning? A promise of mental decline? Is the innocence and happiness of childhood synonymous with having an imaginary friend? The presumption is that imaginary friends are good things and that everyone has had one, you see, and one of the tragedies of growing up is that you forget your imaginary friend. Except there’s this adorable little Asian kid (Alan Kim, already needing a new agent) who doesn’t seem to have one for some reason, so I’m already starting to lose the thread that’s connecting this world. Do all kids have imaginary friends except Asian kids? Why is that? Is it a cultural ban? A deficiency? The fuck is going on? Another premise in If is that once kids forget about their imaginary friends, they disappear–except they don’t disappear, they’re still there but invisible to their former childhood pals. Bea (Cailey Fleming, who is great; this is not her fault) can see them, though. Bea is afraid she’s about to be orphaned. Bea is possibly a monster. Maybe there aren’t rules in If. Maybe it’s madness or hallucination, a psychedelic freakout or, better yet, a true sequel to the “It’s a Good Life” episode of “The Twilight Zone”, which I know did have a sequel, but here’s another one. Work with me here.

Noir Punk

Noir Punk: FFC Interviews Francis Galluppi

May 23, 2024Posted in2024, Authors: Walter Chaw, Interviews

I spoke with filmmaker Francis Galluppi the day after the news broke that he’ll be helming the next instalment in the Evil Dead saga. We were already scheduled to chat about his feature debut, the exceptional desert noir The Last Stop in Yuma County, a smart updating of two Bogie masterpieces (The Petrified Forest and The Treasure of the Sierra Madre). It’s a tremendous picture I don’t feel right formally reviewing because I consider stars Jim Cummings and Barbara Crampton my friends. It’s so good, though, that I wanted to at least interview this Galluppi guy. So I dug into his two short films–the Texas Chain Saw Massacre-tinged High Desert Hell and his high-concept sci-fi piece, The Gemini Project–as well as his accomplished quartet of music videos. And I read the passel of interviews he’s given since Yuma County‘s triumphant premiere at 2023’s Fantastic Fest. They paint a picture of a young artist navigating a repetitious press inquiry for the first time, none of the questions getting at the heart of an emerging aesthetic that is not only film-nerd chic but also in thrall to a very American Romanticism. At the risk of seeming more uncool than I already, naturally, seem, there’s an Ani DiFranco song called “Untouchable Face” that captures a certain Galluppian melancholy. Particularly this lyric block:

Criterion Closet, here we come: Furiosa

Furiosa: A Mad Max Saga (2024)

May 22, 2024Posted in****/****, 2024, Action, Adventure, Australia, Authors: Walter Chaw, Disability, Sci-Fi, Theatrical, Thriller

****/****
starring Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne
written by George Miller, Nico Lathouris
directed by George Miller

by Walter Chaw In matters of vengeance, the Greeks had it all figured out. Their God of such things was a tripartite Goddess: Alecto (“unceasing”), Megaera (“grudging”), and Tisiphone (“avenging murder”), collectively called the “Erinyes.” Hesiod gave their parentage as the Titan Ouranos and Gaia: When Ouranos was castrated by his son, Cronos, three drops of Ouranos’s blood fell to the fertile soil of Mother Earth, impregnating her with his resentment and rage. Other sources describe the Erinyes’ parentage as Night and Hell. The Romans renamed the goddesses the Furiae, and now George Miller houses them in the slight frame of his Furiosa (Anya Taylor-Joy). Furiosa, who births herself from the dirt and, over the course of a too-short 150 minutes, pursues her vengeance like the “darkest of angels” her nemesis, Dementus (Chris Hemsworth), dubs her. He asks her, “Do you have it in you to make it epic?” He already knows she does. Furiosa is the very definition of epic. It’s a treatise on how archetype remains the blueprint for our behaviour, and in its absolute simplicity, it has a sublime power. Furiosa is born of our rage to avenge the death of the world. She reminds me of a Miyazaki heroine, and the film itself is as obsessively detailed, thought-out, and functional as a stygian Miyazaki fantasia. If it’s opera, it’s Wagner. As a film, it may be George Miller’s best.

Or did they see Prince's ghost? (Stars of I Saw the TV Glow bathed in purple,)

I Saw the TV Glow (2024)

May 9, 2024Posted in****/****, 2024, Authors: Walter Chaw, Drama, Esoterica, Horror, Theatrical

****/****
starring Justice Smith, Brigette Lundy-Paine, Helena Howard, Danielle Deadwyler
written and directed by Jane Schoenbrun

by Walter Chaw SPOILER WARNING IN EFFECT. I have a summer evening inside me, a particular one, a purple one. It’s almost dawn, and the sidewalk is warm beneath me. I’m lying there staring at the sky pushing into dawn; it’s the last day of my life. I feel like I’m still there sometimes. I left enough of myself there that I’ll always be there. I’ll never leave. I don’t remember much of my life up to and including high school. It was a confusion of sensation and shadows. I hold shame and sadness in a cage with my heart and won’t let them out. But I remember this night, because it was the day I tried to kill myself. There are times I think I didn’t fail and that all of these decades since have been a moment between breaths. I can smell the moss phlox growing by the street if I concentrate. What if this ends soon? I will blink awake and be there on the warm concrete, waiting for the last sun to rise, and maybe that would be alright. Maybe it would be alright when the stars fade into the blue of day. Maybe it would explain why everything, all this time, has felt so strange, and why that clean, wide-open night has always been so close to me.

Oh, no! Two vampires!: Zendaya getting a double hickey in Challengers

Challengers (2024)

May 7, 2024Posted in2024, Authors: Walter Chaw, Drama, Italy, Romance, Sports, Theatrical

**/****
starring Zendaya, Josh O’Connor, Mike Faist
written by Justin Kuritzkes
directed by Luca Guadagnino

by Walter Chaw Challengers feels…what’s the word, is it “coy?” It’s a tease, a jape, a roundelay and a smug one. It promises the world and delivers a quintessence of dust: a movie about tennis where the balls are blue. The best part is near the end, when two once and future lovers consider each other from across a swirling maelstrom–a scene of heightened emotions right there on the verge of magic realism that reminded me of better movies like Adrian Lyne’s Unfaithful and Jacques Tati’s M. Hulot’s Holiday and even Bronwen Hughes’s wildly underestimated Forces of Nature. What a pity the resolution to said scene is a heatless tumble in the backseat of a beater. It’s possible that consummation in the sexual sense is meant to take a backseat to ecstatic metaphor–that fucking is secondary to dazzling cinematography and a sweaty clinch in front of an adoring crowd. That would explain why the non-tennis sequences are equally sparkless: the two-thirds of the book you skim to get back to the good bits. Off the court, it’s an irritating, underwritten melodrama played by two fantastic actors and one who purses their lips and concentrates a lot, husky-whispering like late-career J-Lo when trying to convey seriousness. The one who seems altogether unworthy of the attentions of the other two points on this love triangle, so that any hint of romantic suspense has fled. Of course the boys should be together: the boys are the sexy ones in perpetual heat. What are we even doing here?

'Cause I'm the Unknown Blunt-Man: Gosling and Blunt in The Fall Guy

The Fall Guy (2024)

May 4, 2024Posted in2024, Action, Australia, Authors: Walter Chaw, Canada, Comedy, Drama, Theatrical

**/****
starring Ryan Gosling, Emily Blunt, Aaron Taylor-Johnson, Hannah Waddingham
written by Drew Pearce
directed by David Leitch

by Walter Chaw I watched David Leitch’s The Fall Guy the same way I try to spot a particularly well-camouflaged insect in a terrarium: with a little disgust, a little fascination, a little fear of the uncanny. You know when you know something’s there but you can’t see it? Could be the terrarium keepers are playing a trick, though, right? Could be there’s just a stick in there. By all accounts, real people made and executed The Fall Guy, but who can tell these days without some kind of Voight-Kampff detector? The film is ostensibly based on the classic five-season run of a Lee Majors television show I watched religiously as a kid, though I only retained the theme song (“Unknown Stuntman,” performed by Majors himself), so naturally, I rewatched the entire first season of it to rekindle my crush on Heather Thomas and confirm there’s no real connection between it and the film. The movie does seem to share some elements with Richard Rush’s cult classic The Stunt Man (1980), but it eschews the naked paranoia and strident social commentary. It shares some cosmetic elements with Robert Mandel’s F/X (1986) and its underestimated sequel (F/X 2 (1991)), too. Ultimately, the best analogue in terms of how weird it feels is John McTiernan’s meta-movie Last Action Hero (1993), only without the relative cleverness of a concept higher than “stuntmen do stunts.”

Nina Hoss in Do Not Expect Too Much from the End of the World

Do Not Expect Too Much from the End of the World (2023)

April 19, 2024Posted in****/****, 2024, Authors: Walter Chaw, Comedy, Croatia, Esoterica, France, Luxembourg, Romania, Theatrical

Nu astepta prea mult de la sfârsitul lumii
****/****
starring Ilinca Manolache, Ovidiu Pîrșan, Nina Hoss, Dorina Lazăr
written and directed by Radu Jude

Do Not Expect Too Much from the End of the World is now playing in Vancouver, Montreal, and Winnipeg. Opens in Toronto on May 4 at TIFF Bell Lightbox and on May 29 at the Carlton Cinemas.

by Walter Chaw I know this film. I know the anger that drives it… No, it isn’t anger, it’s incredulity and exasperation, the kind I’ll hold when I’m led to my pyre for the crime of reading a book, or holding a merciful opinion, or wishing for a reasonable solution. It’s the realization that Yeats was right about the worst and the best of us: the one will summon the will to bend the world while the other will fret and demur until the noose is tight and the platform drops away. I have my wit and am able to dunk on inconsistencies with the best of them, and I will do this even as I know there is no profit from shaming the shameless–from pleasuring stunted masochists who pull strength from their collective humiliation. It is my only defense, so I deploy it. I think about all those horror movies where people empty their guns into things that are not injured by bullets. “Deplorable”? At last a term of derision that can unite them like the “n-word” they pathologically want to wield. They are immune to me. I know this. I am Cassandra. Radu Jude’s Do Not Expect Too Much from the End of the World is, like his previous Bad Luck Banging or Loony Porn, a nervous breakdown of a movie–a wildly careening meltdown of a tantrum raging against the dying of all our lights, led by a woman who has reached a place of radical callousness where surprise and horror are disguised beneath a cocksureness as thick and sensitive as scar tissue.

Dunst in Civil War

Civil War (2024)

April 5, 2024Posted in****/****, 2024, Action, Authors: Walter Chaw, Drama, Theatrical, UK

****/****
starring Kirsten Dunst, Wagner Moura, Cailee Spaeny, Nick Offerman
written and directed by Alex Garland

by Walter Chaw Haskell Wexler’s seminal 1969 film Medium Cool opens on a car accident. A woman in a grey-and-black striped dress has been thrown from the passenger side and is lying in the road. The car horn is stuck and blaring, and in the rearview mirror two figures approach: a man in a tight black T-shirt toting a 16mm camera, and his soundman, trailing behind with a directional microphone. They stalk around the wreckage. They find the best angles. The guy with the camera–the hero of the piece, John (Robert Forster)–spares a moment of pity for the woman after getting his footage. He and the soundman leave, and we hear distant sirens. They’re travelling, John and his colleague (Peter Bonerz), across a country torn by unrest at the end of the last progressive period in the United States–the wasteland our season of assassinations left behind, in which any vestiges of hope would soon curdle into the filth of Altamont and the Manson Family. They’re chroniclers, not participants. What is a single human lifespan compared to the life cycle of the perfectly eloquent photograph? What if you could keep telling your story after you died? What if the Democratic National Convention in 1968, where the party fractured over disagreements about how to handle an unpopular war and sent Chicago’s stormtroopers to beat students and protestors… What if this happened and no one was there to record how far we had fallen? What if the powerful were allowed to operate in the dark?

Godzilla x Kong: The New Empire

Godzilla x Kong: The New Empire

March 29, 2024Posted in2024, Action, Adventure, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller, ZERO STARS

ZERO STARS/****
starring Godzilla, King Kong, Rebecca Hall, Brian Tyree Henry
screenplay by Terry Rossio and Simon Barrett and Jeremy Slater
directed by Adam Wingard

by Walter Chaw Maybe this is how it starts, though I know we must be in the middle if not at the end. More to the point, maybe this is when we notice how close we are to the door to the processing house–to the slaughter. I want to be clear, for posterity’s sake, that I believe we are at the very edge of it. I want it to be on record that I’m afraid. I think we may even be inside, in the stench of its fear and blood and shit, pop-eyed with the too-late realization that all this time, we were waiting in this line for this outcome, and we’ve known it all along. We have been conditioned to be surprised every single time it swims to our attention for a few minutes (which used to happen infrequently, first years, then months, then days, then hours apart; soon it will be seconds) that our lives hold no value to the machineries running us save for the material weight of our flesh. We have been conditioned to forget this every time we’re accidentally confronted with it again. They did it by teaching us to question–and discount–the suffering of others. Not completely; not everyone and not yet. But mostly, and some of you are making me a little worried. I feel like Kevin McCarthy in Invasion of the Body Snatchers, although I’m not as sure I’m who I used to be anymore, either.

Ghostbusters: Frozen Empire (2024)

Ghostbusters: Frozen Empire (2024)

March 24, 2024Posted in2024, Adventure, Authors: Walter Chaw, Canada, Comedy, Sci-Fi, Theatrical

*½/****
starring Paul Rudd, Carrie Coon, Finn Wolfhard, Mckenna Grace
written by Gil Kenan & Jason Reitman
directed by Gil Kenan

by Walter Chaw Walking out of the Westland Twin into the bright June sun in 1984, my best friend and I agreed that Ghostbusters was the best movie we’d ever seen. Just two 11-year-old idiots in the first week of summer vacation, drunk on soda and popcorn and full to the brim with the magic of being young and stupid. It’s a memory I’ll always treasure, this anecdote from the matinee of my filmgoing experience. I wouldn’t love movies as much as I do if not for the films I saw between 1983 and 1989, that period where I was the most receptive, the most vulnerable, the right amount of inexperienced and ignorant. Movies, for a while, were my secret sharer, my parents, my priest-confessor, my first lover. The Blockbuster Age shaped my tastes, and eventually movies pointed a direction for me to pursue in life through their analysis and contextualization. If I could understand them, the thinking went, maybe I could start to understand my childhood. The me watching Ghostbusters 40 years later finds it to be painful. The experience of that first viewing is so different from my reaction to it now, it’s hard to believe they’re the same film. Age provides an interesting parallax. Ghostbusters is a supernatural Caddyshack hang-out flick that shares the misfortune of being curdled by that specific early-’80s, OG SNL/National Lampoon arrogance, sloth, and nastiness. The best part of it is Rick Moranis, because everything Rick Moranis does in it is unforced. The worst part is the rest, in which may-as-well-be Catskills-veterans peddle their cocaine-fueled shtick, which is aging about as well as Henny Youngman’s and Soupy Sales’s were at the time.

"What would really get me hot is a ceasefire." K-Stew and Katy O'Brian in Love Lies Bleeding

Love Lies Bleeding (2024)

March 16, 2024Posted in****/****, 2024, Action, Adventure, Authors: Walter Chaw, Crime, Mystery, Theatrical, Thriller, UK

****/****
starring Kristen Stewart, Katy O’Brian, Jena Malone, Ed Harris
written by Rose Glass & Weronika Tofilska
directed by Rose Glass

by Walter Chaw Love is like a lamb and love is like a sledgehammer. Love crawls into your head and fills the empty spaces, the canyons and tunnels and holes in between, making it so full of noise it makes you fucking nuts. It’s too big, but it keeps growing. It kills you, but it won’t let you die. Love makes every love story a tragedy. Everyone writes about love, but the only person to ever do it right was Maurice Sendak, who wrote a survival guide for the fury called Where the Wild Things Are. Therein, a little boy named Max threatens to leave his friends, monsters on an island where they all jamboree. They beg him to stay: “Please don’t go. We’ll eat you up we love you so.” And they will, you know, because they have fangs and dangerous desires and horrible appetites. Love growls and gnashes its teeth. Love’s claws rattle like castanets. Love roars. Rose Glass’s Love Lies Bleeding is a love story about two terrible women and two terrible men who do bad things to one another and for one another because love is the fire in which, happily, we burn.

Watch this space

Spaceman (2024) + Sometimes I Think About Dying (2024)

March 15, 2024Posted in2024, Adventure, Authors: Walter Chaw, Comedy, Czech Republic, Drama, Romance, Sci-Fi, Streaming

SPACEMAN
**/****
starring Adam Sandler, Carey Mulligan, Paul Dano, Isabella Rossellini
screenplay by Colby Day, based on the novel Spaceman of Bohemia by Jaroslav Kalfař
directed by Johan Renck

SOMETIMES I THINK ABOUT DYING
**/****
starring Daisy Ridley, Dave Merheje, Parvesh Cheena, Marcia DeBonis
written by Kevin Armento, Stefanie Abel Horowitz, Katy Wright-Mead
directed by Rachel Lambert

by Walter Chaw Its basic set-up is like Duncan Jones’s Moon: a lone astronaut, far from home and tethered only by occasional contact with the partner he’s left behind on Earth, finds some solace in conversations with an alien/artificial intelligence. But this genre of listless Rocket Men and their internal melodramas traces back to Douglas Trumbull’s Silent Running, right? Or that 1964 episode of the original “Twilight Zone”, “The Long Morrow”? Apocalypse-tinged futureworlds centred around Byronic heroes. Where its antecedents rarely showed the strain of their creation, however, Johan Renck’s Spaceman (an adaptation of Jaroslav Kalfař’s Spaceman of Bohemia) often does. It has good taste, and maybe even the right idea in putting a man in isolation in order to Altered States him into a cleaner understanding of his essential self, but it’s better at pounding out the notes than it is at hearing the music. While I didn’t hate it, I am, I suspect, squarely in its target audience of pretentious, sad, The Fountain-loving Proust-readers, so it never drowned me like I hoped it would. Me, whose pockets are always filled with the smooth rocks I picked along the shore.