Drama Archives - Page 18 of 120 - FILM FREAK CENTRAL

TIFF ’18: Widows

September 14, 20182018, Authors: Bill Chambers, Crime, Drama, Film Festivals, Thriller, TIFF, UK

***½/****
screenplay by Gillian Flynn & Steve McQueen, based on the novel by Lynda LaPlante
directed by Steve McQueen

by Bill Chambers Sorry, Psycho. Killing off one movie star halfway through isn’t cool. You know what’s cool? Killing off three movie stars in the first five minutes. Widows casts Liam Neeson, Jon Bernthal, and Manuel Garcia-Rulfo as the husbands, and while the title would seem to give away that they aren’t long for this film’s world, watching established leading men bite it so soon still creates an undeniable moment of cognitive dissonance. It’s thrilling to see co-writer/director Steve McQueen use his cachet to these subversive ends, not to mention apply his formal sophistication to the crime movie. Which isn’t to say he elevates it (we’re talking about a genre that counts Anthony Mann and Jean-Pierre Melville among its pioneers)–more that Widows offers respite from a glut of John Wick wannabes and Neeson’s own assembly-line thrillers. So, Widows. Viola Davis plays the rich one, Veronica. She lives in a swank condo overlooking Chicago that seems to have taken on the icy gleam of the bachelor pad from McQueen’s Shame in the absence of Neeson’s Harry, an idealized vision of whom haunts Veronica’s imagination. (These scenes play like the distaff version of Neeson’s The Grey.) Harry’s partners were not as well off, and their wives, Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki), need money desperately enough that Alice’s own mother (Jacki Weaver, perhaps inevitably) tells her to become a paid escort. Harry, it turns out, owed money to a crime lord, Jamal Manning (Brian Tyree Henry), who’s now running for city council against golden child Jack Mulligan (Colin Farrell). Manning wants Veronica to pay up, so she commits to robbing Mulligan and thus finishing what Harry started, enlisting Linda and Alice as her partners. None of them are career criminals, yet Veronica figures that if she can tailor the heist to their individual strengths, they just might pull it off.

TIFF ’18: Cold War

September 14, 20182018, Authors: Angelo Muredda, Drama, Film Festivals, Music, Poland, TIFF

**/****written and directed by Pawel Pawlikowski by Angelo Muredda Pawel Pawlikowski follows up on the airless perfection of Ida with the ostensibly warmer but equally over-manicured and emotionally distant Cold War, a more historically trenchant La La Land for postwar Poland. Leave it to Pawlikowski, who never met a compelling, age-lined face he didn't want to frame in an artfully-arranged tableau, to mute even the potentially energizing opening montage of folk performers doing their bits before his ethnographic camera and its onscreen extension, the extended mic of pianist and recruiter Wiktor (Tomasz Kot, whose passing resemblance to Will Forte makes…

TIFF ’18: Dogman

September 12, 2018****/****, 2018, Authors: Walter Chaw, Crime, Drama, Film Festivals, France, Italy, Thriller, TIFF

****/****
starring Marcello Fonte, Edoardo Pesce, Nunzia Schiano, Adamo Dionisi
screenplay by Ugo Chiti, Massimo Gaudioso, Matteo Garrone
directed by Matteo Garrone

by Walter Chaw About four scenes into Matteo Garrone's Dogman, I wondered if he was going to be able to keep it up: the invention, the escalating tension, the breathless feat of being something entirely novel. I've never seen anything like Dogman. It's a crime film, a tender picture about a father and his daughter, a look at poverty, a look at addiction and maybe mental illness, a critique of masculinity at its terminal extremities, and a withering conversation about what friendship can look like between two men. It's a film that feels like a fable sometimes; like neorealism at others. It's shockingly violent and then surpassingly tender. There's a monster in Dogman, too, and while it's easy to hate and fear him, there are moments where I felt myself hoping that someone could reach him. I could even feel myself wanting his approval. The picture is unusually smart about the human condition, even though its intelligence appears to be alien in nature. It's impossible to know from one minute to the next what's going to happen in Dogman, which isn't to say it makes no sense but rather that it makes perfect sense, once it happens. It's brilliant.

TIFF ’18: Transit + Shadow

September 11, 20182018, Action, Authors: Bill Chambers, China, Drama, Film Festivals, France, Germany, Hong Kong, Romance, TIFF

TRANSIT
*½/****
starring Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman
screenplay by Christian Petzold, based on the novel by Anna Seghers
directed by Christian Petzold

Ying
**/****
starring Deng Chao, Sun Li, Zheng Kai, Wang Qianyuan
screenplay by Li Wei & Zhang Yimou
directed by Zhang Yimou

by Bill Chambers If Christian Petzold's previous film, Phoenix, felt like a joke reverse-engineered with the slightest of pretexts to get us to a killer payoff, Transit feels more like his version of "The Aristocrats!", a shaggy-dog story intoxicated with its own brutal rambling–here almost literalized by third-person narration from a bartender (Matthias Brandt), who paraphrases conversations he had with our hero that are comically steeped in minutiae–on its way to a glib punchline. In Paris during the Occupation, Georg (Franz Rogowski, a downmarket Joaquin Phoenix) is entrusted with delivering two pieces of mail to a renowned novelist squirrelled away in a hotel: a letter from the man's estranged wife, and papers that will help him escape to freedom. The writer, alas, is but a stain when Georg gets there, and soon after he agrees to smuggle a dying man (Grégoire Monsaingeon) into Marseilles, where he can kill two birds with one stone by taking care of the author's unfinished business. Transit generates a moment of real frisson when Georg hops off the train in Marseilles: everything is modern, or at least postwar, including the melting-pot citizenry. I'm sure there's a definitive answer as to whether this is WWII as modern-dress Shakespeare, but for the rest of the movie, whenever something as benign as a contemporary bus advertisement appears, the film briefly and instantly becomes a "Man in the High Castle"-esque work of speculative fiction that curdles the blood, given how frighteningly close we are to resurrecting Hitler with the rise of nationalism on the world stage. One might ask why the characters are still dealing with "letters of transit" like they're in Casablanca (i.e., where are the computers?), but I took that as commentary on the dinosaur ideals of fascism itself. If fascism does one thing well, it's "rolling back" progress, currently the Republican party's favourite pastime.

TIFF ’18: Blind Spot

September 9, 20182018, Authors: Bill Chambers, Drama, Esoterica, Film Festivals, Norway, TIFF

Blindsone
***/****
written and directed by Tuva Novotny

by Bill Chambers I'm dense; I hadn't read anything about Blind Spot in advance, and it was a while before I realized I was watching a film that not only hadn't cut yet but was likely never going to. The picture opens with two adolescent girls getting dressed after gym class, scrolling through apps ("Look!" Thea (Nora Mathea Øien) says, waving her phone at her friend, who distantly acknowledges whatever it is she's supposed to see), and walking home from school together, which involves 11 uninterrupted minutes of mindless chatter. While admiring the awesome banality of it all, I somehow failed to notice that the film's form was dictating its commitment to verisimilitude. Maybe that's one of the blind spots to which the title refers–it seems to have a few meanings, both within the story being told and more metatextually. For instance, Thea returns to her family's apartment, has a little supper in front of the teevee while her stepmother, Maria (Pia Tjelta), tends to her baby brother, brushes her teeth, jots something in her diary, checks her phone, and then, for the first time, escapes our gaze, stepping out of frame into a literal blind spot, manufacturing a mystery out of those pivotal seconds before Thea, evidently, tries to kill herself by jumping out the window.

Telluride ’18: Roma (2018)

September 9, 20182018, Authors: Walter Chaw, Drama, Film Festivals, Mexico, Streaming, Telluride

***½/****
starring Yalitza Aparicio, Marina de Tavira, Diego Cortina Autrey, Carlos Peralta
written and directed by Alfonso Cuarón

by Walter Chaw Alfonso Cuarón retreats from the noisy silliness of Gravity to produce something more in line with his A Little Princess–a touch of Children of Men thrown in for topical relevance and actual gravity. It’s all in black-and-white, no less, with a non-professional lead and Cuarón himself operating the camera, shooting in 65mm. What results is the slow but dulcet, small but sometimes impossibly large Roma, capturing the microcosm of the immigration question in one wealthy family’s interactions with their native servants, Cleo (Yalitza Aparicio) and Adela (Nancy Garcia), and what happens when the small tragedies of the day-to-day intersect with the larger tragedies of a world that doesn’t care about them. The mistress of the house, Sofia (Marina de Tavira), her inconstant husband, Antonio (Fernando Grediaga), and the couple’s four small children live in a posh house in Mexico City sometime in the late-1960s. (An event in the film that is probably the Tlateloco Massacre sets the events somewhere around October of 1968.) Cuarón has called Roma his most personal film, and so it is as he continually directs attention away from the larger events at play, back to the intimate upsets of this upper-class family and their subsistence-class help. The largest scene of the film, a riot that led to a deadly confrontation between students and the military, immediately reverts to Cleo and Sofia’s aged mother-in-law, Teresa (Veronica Garcia), interrupted in the middle of a shopping trip.

TIFF ’18: A Star is Born (2018)

September 9, 20182018, Authors: Angelo Muredda, Drama, Film Festivals, Musical, Romance, TIFF

**½/****
starring Bradley Cooper, Lady Gaga, Andrew Dice Clay, Sam Elliott
screenplay by Eric Roth and Bradley Cooper & Will Fetters
directed by Bradley Cooper

by Angelo Muredda It says a lot about A Star Is Born, Bradley Cooper's directorial debut, that the most emotionally cathartic stuff pours out as freely in the incredible trailer and its savviest meme offspring, where diva Pokémon Jigglypuff croons the entrancing opening bars of Lady Gaga's big stage debut for a rapt audience, than it does in the actual film, a polished first-act pitch in search of a payoff. That everything after the titular birth seems like apocrypha, weirdly playing both too long and as if it's running at 1.5x speed, is disappointing given the first act's charm offensive, though you can't put the blame squarely on the multi-hyphenate's already-overtaxed shoulders. It's probably asking too much of this third official crack at material first made into a vehicle for Janet Gaynor in 1937 to expect it to offer a wholly fresh take on a vaguely eugenic premise about how one half of a creative power couple can only thrive while the other languishes in obscurity. A first-time helmer with a stake in how his character's tragic narrative trajectory plays out, Cooper seems at once fired up by the meet-cute potential of the premise, which he nails, and stuck at a creative crossroads with the more melancholy, sepia-toned stuff that probably first drew the previously-attached Clint Eastwood's attention.

TIFF ’18: One Last Deal

September 8, 20182018, Authors: Bill Chambers, Drama, Film Festivals, Finland, TIFF

Tuntematon mestari**½/****written by Anna Heinämaadirected by Klaus Härö by Bill Chambers Olavi (Heikki Nousiainen) looks like Michael Haneke and projects about the same cuddly warmth as an art dealer whose basement shop has never done better than break even. One day at the auction house he frequently trolls, Olavi is caught in the tractor beam of an unsigned portrait of Christ by an unidentified artist, perhaps seeing a vision of his younger self in the bearded figure. He has a hunch the piece is a bigger deal than the viperous auctioneer (Jakob Öhrman) knows, and decides to bid on it…

TIFF ’18: Consequences

September 7, 20182018, Authors: Bill Chambers, Drama, Film Festivals, Slovenia, Teen, TIFF

Posledice**/****written and directed by Darko Štante by Bill Chambers A young woman escorts Andrej (Matej Zemljič) into the bedroom at a party but when the layers of clothing start coming off, he balks. She calls his manhood into question, and the next thing you know she's running out the door with a bloody mouth while he wraps his knuckles in a towel. Andrej, who looks mature but is apparently still a minor, appears in court, where his mother (Rosana Hribar) throws him spectacularly under the bus for his recent history of delinquency, emasculating him yet again. Back at home awaiting…

Telluride ’18: White Boy Rick + Shoplifters

September 4, 2018****/****, 2018, Authors: Walter Chaw, Crime, Drama, Film Festivals, Japan, Palme d'Or Winner, Telluride

WHITE BOY RICK
***/****
starring Matthew McConaughey, Jennifer Jason Leigh, Jonathan Majors, Richie Merritt
written by Andy Weiss and Logan & Noah Miller
directed by Yann Demange

Manbiki kazoku
****/****
starring Lily Franky, Ando Sakura, Matsuoka Mayu, Kiki Kilin
written and directed by Hirokazu Kore-eda

by Walter Chaw Yann Demange's follow-up to his bruising, brilliant '71 is this ersatz Donnie Brasco true-crime epic. White Boy Rick details the rise and fall of underage drug kingpin/FBI informant Richard Wershe, Jr. (Richie Merritt–excellent), dubbed "white boy" by the black Detroit gang into which he inculcates himself as first a sort of mascot, then trusted lieutenant, then deep-cover betrayer, then ultimate usurper. White Boy Rick establishes Demange firmly as a formidable technical director. A scene set in a roller disco circa 1984 is as beautiful, lyrical, and effortless an evocation (and affectionate amplification) of time and space as the Cornelius Bros and Sister Rose dance sequence from BlacKkKlansman. A sudden spinout on an icy road later on carries with it the harsh kinetic immediacy and strong knowledge of space of Demange's '71. The film looks right and feels right. There's a scene at a drive-in where Rick takes a date to watch Footloose: a film that couldn't possibly be more alien to Rick's reality. Crucially, White Boy Rick behaves in the right way, too, demonstrating restraint when appropriate, naturalism where appropriate, and expressionism, especially in a sequence where Rick's junkie sister Dawn (Bel Powley, also excellent) is taken from a crackhouse against her will down a red-lit corridor strobed with shadows.

Mishima: A Life in Four Chapters (1985) [The Criterion Collection] – Blu-ray Disc

September 4, 20181980s, 2018, Authors: Bryant Frazer, Biopic, Blu-ray Disc, Directors: Paul Schrader, Drama, Esoterica, Japan, The Criterion Collection

***½/**** Image A Sound A- Extras A-
starring Ken Ogata, Kenji Sawada, Yasosuke Bando, Toshiyuki Nagashima
written by Paul Schrader and Leonard Schrader (Japanese screenplay by Cheiko Schrader)
directed by Paul Schrader

by Bryant Frazer A little more than halfway through Mishima: A Life in Four Chapters, a fragmented, multifaceted cinematic biography of Japanese writer Yukio Mishima, Mishima expresses nostalgia for an afterlife that existed only in the distant past. “The average age for men in the Bronze Age was 18 and, in the Roman era, 22,” Mishima reckons aloud, in voiceover. “Heaven must have been beautiful then. Today it must look dreadful.” Like the rest of the film’s narration, the passage is quoted from Mishima’s published work, in this case an article he wrote in 1962, eight years before his death at the age of 45 by seppuku. “When a man reaches 40, he has no chance to die beautifully,” Mishima continues. “No matter how he tries, he will die of decay. He must compel himself to live.” In 1984, when he made this film, Paul Schrader was 38 years old. He had just come off the commercial misfire that was 1982’s Cat People, a straightforward studio assignment he tailored to address his signature concerns about sex and death, putting them in the context of a dark fairytale with intimations of incest and bestiality. It wasn’t a good experience. Coked out of his mind for much of the shoot, Schrader fell into a dead-end affair with Nastassja Kinski that he hoped was something more; she wanted nothing to do with him after the movie wrapped, and Cat People‘s disappointing box-office receipts closed the door on his Hollywood career. He thought of suicide. He scurried away from Hollywood, heading first to New York and then to Japan, in search of a life change. That’s where Mishima came in.

Telluride ’18: Destroyer

September 3, 20182018, Authors: Walter Chaw, Crime, Drama, Film Festivals, Telluride, Thriller

**/****
starring Nicole Kidman, Tatiana Maslany, Sebastian Stan, Toby Kebbell
written by Phil Hay & Matt Manfredi
directed by Karyn Kusama

by Walter Chaw A laconic noir that promises for a while to be fierce before settling into being familiar, Karyn Kusama’s Destroyer drips with style and atmosphere even if its destined-to-be-lauded central performance by Nicole Kidman lacks the same mystique. She plays LA Detective Erin Bell, a woman beset by demons of alcohol and regret that have left her looking cadaverous: rotted gums and hollow eyes. Most of the performance is fright make-up, the rest Kidman speaking breathily, heavily, and maybe overdoing the drunk swaying and slurring a tad. Erin’s daughter Shelby (Jade Pettyjohn) hates her, of course, and has taken to hanging out with much-older street tough Jay (Beau Knapp), probably just to piss her off. Erin’s estranged husband Ethan (Scoot McNairy) seems nice, though, if scarred by her ferocious temper and penchant for vomiting and passing out, usually in that order. Kidman has been extraordinary in small, personal films like this. Her work in Birth is generational; Dogville, too. But Destroyer is too programmatic to make much of an impact. This kind of image-slumming is too familiar by now, and there’s not one moment where it’s not Nicole Kidman doing a performance up there. Pity.

Telluride ’18: Non-Fiction

September 3, 20182018, Authors: Walter Chaw, Comedy, Drama, Film Festivals, France, Telluride

**½/****
starring Guillaume Canet, Juliette Binoche, Vincent Macaigne, Nora Hamzawi
written and directed by Olivier Assayas

by Walter Chaw The questions asked in and by Olivier Assayas's Non-Fiction are slippery and at times satisfying for that. This is his Hong Sang-Soo following a pair of Apichatpong Weerasethakuls (though he would say his films owe a bigger debt to Bresson)–a movie, in other words, involving the intricacies of relational dynamics, shot on what appears to be a shoestring and a lark over a long weekend among friends. Probably it's what one of his characters calls "auto-fiction," a blurred line between memoir and pure fiction, with the tension being that maybe there's not much of a difference after all between what's true and what's made up in the pursuit of truth. It's one of those movies that seems like a defense of concept, a response or an invitation to conversation for critics. (Assayas himself was one, once upon a time.) Even more, the picture suggests an auto-critical confession of sorts, yet I'm not sure of what. Past or present infidelities? A declaration that he's found peace at last? An apologia for indiscretions and a pathway to a more authentic life? Whatever Non-Fiction is, it's maybe just a little too clever for its own good.

Telluride ’18: First Man

September 1, 20182018, Authors: Walter Chaw, Biopic, Drama, Film Festivals, Spielberg, Telluride

***/****
starring Ryan Gosling, Claire Foy, Pablo Schreiber, Christopher Abbott
screenplay by Josh Singer
directed by Damien Chazelle

by Walter Chaw Damien Chazelle’s First Man is the Super 8 shrine for Terrence Malick that Oscar voters never knew they needed. It’s a mutant clumping-together of The Tree of Life (all the sad Texas scenes) and Philip Kaufman’s The Right Stuff (all the astronaut stuff), mixed in with a few scenes that are gritty and true (most of them involving a frankly extraordinary Claire Foy), even if Chazelle remains overly fond of snap zooms and the handheld aesthetic in long shots. It’s best, even exceptional, when it’s not hagiography and passing fine when it’s doing what it “ought” to be doing. Like playing a classical music waltz when stoic-to-the-point-of-deranged astronaut/engineer Neil Armstrong (Ryan Gosling) initiates the first-ever orbital docking manoeuvre, because 2001: A Space Odyssey; or doing a little riff on Bill Conti’s amazing score for The Right Stuff right before the first closed-cabin testing. Could be homage. Could be the movie just doing what seems right as a shorthand for emotional engagement. If that’s the case, more’s the pity, as Chazelle proves in the first thirty minutes or so of his film–which revolve around an orbital “bounce” for a test plane and the death of Armstrong’s toddler daughter to cancer–that he’s capable of evoking real emotion, and employing smart contrasts in style and action, if he would only let go of the desire to impress.

FrightFest ’18: A Young Man with High Potential

August 31, 20182018, Authors: Walter Chaw, Comedy, Drama, Film Festivals, FrightFest, Germany, Thriller

***/****
starring Adam Ild Rohweder, Paulina Galazka, Pit Bukowski, Amanda Plummer
written by Anna de Paoli & Linus de Paoli
directed by Linus de Paoli

by Walter Chaw The storyline goes like this: Rey, the young woman in the new Star Wars trilogy, is a "Mary Sue"–a term used to describe a female character who is born fully-formed and, therefore, undeserving of her status as the hero of the story, any story. It's an argument made by mediocre men, usually mediocre white men, who have gathered together over social media to share their frustrations about how, essentially, their own worthiness has never been recognized by a world designed, now, to overlook and disdain them. It wasn't supposed to be this way. The parallel storyline is that women are usually murdered by men they know–ex-lovers or spurned would-be lovers–and that the best indicator for murderous gun violence is a history of domestic violence. We hold these truths now to be self-evident. And suddenly these mediocre men who used to get pushed into lockers and demeaned for their solitary interests are the masters of our culture, our industry, our government. There were warnings about this in films like The Last American Virgin and Revenge of the Nerds, remembering that the triumphant happy ending of the latter entailed one of the nerd heroes raping the girlfriend of the lead jock…and the girlfriend liking it a lot. Masculinity has always been this mash of the tragic and the toxic. It's irresolvable, though at least there can be better awareness.

FrightFest ’18: Incident in a Ghostland

August 29, 20182018, Authors: Walter Chaw, Canada, Drama, Film Festivals, France, FrightFest, Horror, Mystery, Thriller

Ghostland
**½/****
starring Crystal Reed, Anastasia Phillips, Emilia Jones
written and directed by Pascal Laugier

by Walter Chaw Pascal Laugier, if he had made no other film than Martyrs, would still have made Martyrs: the cornerstone picture of the short-lived New French Extremity and one of the most startling (and nigh-unwatchable) films about faith ever made. It would be remarkable as the second half of a double-feature with Dreyer’s The Passion of Joan of Arc–maybe as part of a trilogy with Scorsese’s The Last Temptation of Christ. Mad Mel’s Passion of the Christ would fit in there, too. Make a weekend of it with Pasolini’s The Gospel According to St. Matthew–martyrdom and ecstasy and the cinematic arts. Laugier’s follow-up, The Tall Man, failed in comparison to Martyrs, as it must. He was briefly attached to a Hellraiser reboot with Clive Barker’s blessing (of course with Barker’s blessing: Martyrs is a film made by a Cenobite), but the franchise is cursed and it fell through. Folks have been waiting for Laugier to make another masterpiece. Incident in a Ghostland isn’t it, but like The Tall Man it’s a strong, technically-proficient genre exercise that deals in an interesting space with at-times striking images. Laugier is one of the only filmmakers who makes me queasy. His films aren’t kidding around.

FrightFest ’18: The Witch in the Window

August 28, 20182018, Authors: Walter Chaw, Drama, Film Festivals, FrightFest, Horror

**/****written and directed by Andy Milton by Walter Chaw Life as a House as a different kind of horror movie, Andy Milton's The Witch in the Window is an allegory for marriage, attachment, fatherhood tied up with restoring an old house in the country that appears to be haunted by a witch. Half of it is pretty scary, half of it is an overwritten, mawkishly-sentimental, and slow-moving drama between estranged dad Simon (Alex Draper) and his delinquent son, Finn (Charlie Tacker). It seems that Simon has bought a flipper and invited Finn to come over to help restore it, the…

FrightFest ’18: The Night Eats the World

August 27, 20182018, Authors: Walter Chaw, Drama, Film Festivals, France, FrightFest, Horror

La nuit a dévoré le monde
***½/****
starring Anders Danielsen Lie, Golshifteh Farahani, Denis Lavant, Sigrid Bouaziz
screenplay by Guillaume Lemans, Jérémie Guez, Dominique Rocher, based on the novel by Pit Agarmen
directed by Dominique Rocher

by Walter Chaw A spiritual companion piece to “The Twilight Zone”‘s “Time Enough at Last,” in which a bookish, harried loner survives a nuclear holocaust (to his delight), gathers all the books he wants to read, and then accidentally breaks his glasses, Dominique Rocher’s The Night Eats the World has angry, awkward loner Sam (Anders Danielsen Lie, who broke my heart in Oslo, August 31) find a little safe space only to discover that the zombie apocalypse has happened. It opens at a party thrown by his ex-girlfriend Fanny (Sigrid Bouaziz), where he’s come to collect a box of tapes she’s accidentally taken with her upon her departure. He’s irritated that her attention’s divided and that she’s invited him to get his stuff during a party. Her public displays of affection with a new, aggressive boyfriend (David Kammenos) seem calculated, too, to make him uncomfortable, small. The first ten minutes of the film see Sam floating through the party, nursing his drink, trying to get Fanny’s attention. Hours pass with Sam on the periphery of every interaction. In a very real, visceral way, The Night Eats the World is a character study of introversion and depression. Fanny, frustrated instantly, asks Sam why he can’t just mingle, meet some new people, “try for a change.” It’s clear why they’ve broken up. She doesn’t understand what it’s like to be depressed. He doesn’t understand what it’s like not to be. She tells Sam to go in a back bedroom for his things and stay there because it’s quiet. They’ll talk later. She does understand at least that Sam might have some audio processing issues related to his overlapping conditions. Yeah, don’t we all.

FrightFest ’18: Ghost Stories

August 27, 20182018, Authors: Walter Chaw, Drama, Film Festivals, FrightFest, Horror, UK

**/**** written and directed by Jeremy Dyson & Andy Nyman by Walter Chaw A throwback anthology film that alas plays more like a Cat's Eye or a Trick 'r Treat than a Dead of Night or a Black Sabbath, Andy Nyman and Jeremy Dyson's Ghost Stories is a handsome, safe-feeling prestige-horror production that trods no new ground, though it trods old ground pretty well. Paranormal debunker Professor Goodman (Nyman) needs a good knocking off his high horse and gets it in the form of three supernatural occurrences he's tasked with explaining. Three tales--the first a haunted hospital/factory thing, the second…

FrightFest ’18: The Man Who Killed Hitler and Then the Bigfoot

August 26, 20182018, Adventure, Authors: Walter Chaw, Drama, Film Festivals, FrightFest

*½/**** written and directed by Robert D. Krzykowski by Walter Chaw Sort of like The Age of Adeline where the gimmick isn't immortality, but rather a guy who killed Hitler and then the Bigfoot, Robert D. Krzykowski's The Man Who Killed Hitler and Then the Bigfoot is ultimately an elegy for a certain kind of heroism embodied by Sam Elliott, arguably the only actor who could perform the high-wire act of this high-concept movie. The Man Who Killed Hitler and Then the Bigfoot has a definite Bubba Ho-Tep vibe, especially in the moments where it uses a sting like Bill…