Thriller Archives - FILM FREAK CENTRAL

The Rule of Jenny Pen (2025)

March 14, 20252025, Authors: Walter Chaw, Horror, Mystery, New Zealand, Theatrical, Thriller

***/****
starring John Lithgow, Geoffrey Rush, George Henare, Nathaniel Lees
written by Eli Kent, James Ashcroft, based on the short story by Owen Marshall
directed by James Ashcroft

by Waler Chaw James Ashcroft’s The Rule of Jenny Pen scares the shit out of me. Not just as a horror movie, but also as a reminder of how our elder-care system is so broken that most of us will end up dying at the hands of overworked caregivers in underfunded facilities. My plan is to kill myself before the dementia takes over completely, but that boat may have already sailed. In The Rule of Jenny Pen, Eunice (Hilary Norris), a dear old thing, believes that every day is Christmas, and tells everyone her family is due to visit. Every day ends with her disappointed, but then she wakes up the next morning thinking it’s Christmas again, thus hope springs eternal. We later learn that she’s been in this loop for years. Is she in Hell or is she in Heaven? Is anticipation sweet, or is it torture? Was Sisyphus happy because he knew what was expected of him? At a terminal point, is there much difference between sweet delight and endless night? Is there much of a difference between this limbo in God’s waiting room and the limbo of lives meted out in coffee spoons and the long shadows of regret?

Companion (2025)

February 8, 20252025, Authors: Walter Chaw, Sci-Fi, Theatrical, Thriller

***½/****
starring Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri
written and directed by Drew Hancock

by Walter Chaw Drew Hancock’s feature debut Companion plays a lot like a cross between Peter Berg’s comedy of (bad) manners Very Bad Things and Alex Garland’s solemn Ex Machina. It is, in other words, extremely my jam. Depicting an escalating series of catastrophes like a Pierre Étaix movie with a body count, Companion is a house of cards composed of appalling behaviour and hidden agendas that mashes together tropes from the “Bad Dinner Party” subgenre of awkward horror movies and the sentience melodramas of android fiction. The script is fleet and smart, the cast is game, and damned if Companion isn’t prepared to follow through on the essential human awfulness of its premise. I worry that the inevitable rush of “peeved A.I.” thrillers will fail to offer a credible reckoning with the morality of making a thing 90% of its consumer base will attempt to fuck, if not outright purchase for that purpose. (Some, like flavour-of-the-moment M3GAN, don’t even acknowledge it as a likely possibility.) Consider Companion the corrective: here, the talking toasters are made to be fleshlights capable of having rudimentary conversations. A fun ride that wrestles with the controversies at the root of its concept? Don’t threaten me with a good time.

Lucy Liu in Presence: Not just a subpar Led Zeppelin album anymore

Presence (2025)

January 24, 20252025, Authors: Walter Chaw, Directors: Steven Soderbergh, Drama, Horror, Theatrical, Thriller

*/****
starring Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday
written by David Koepp
directed by Steven Soderbergh

by Walter Chaw The subjective camera is nothing new, of course. 1947’s Lady in the Lake is a largely failed Raymond Chandler adaptation in which Philip Marlowe is the camera, while director RaMell Ross cannily attaches the technique to a critic-proof project in the current Nickel Boys. First-person shooter (FPS) video game enthusiasts are more than familiar with the concept, and purveyors of porn know that VR-ready stereoscopic smut has its own niche market. Everything “new” is ancient, in other words, and the experience of Steven Soderbergh’s Presence at times reminded me of playing the first-person, text-based INFOCOM games of my childhood: floating in and out of scenes; picking up bits and pieces of information and trying to cohere them into an unrevealed storyline. Horror aficionados will certainly have moments of déjà vu here, what with the camera being yoked to a predatory point-of-view. (Halloween, I’m looking at you.) Which is to say that Presence definitely pulls the odd pleasure-lever in my lizard brain, not that it’s good. Funny, because even Soderbergh himself has said he never thought a “POV” film could work because you don’t get to see the reaction of the protagonist–but then he goes ahead and makes Presence anyway…and cheats.

Jude Law aiming a gun in The Order: This time...Dickie came prepared.

The Order (2024)

January 12, 20252024, 2025, Authors: Walter Chaw, Canada, Crime, Drama, Theatrical, Thriller, UK

***/****
starring Jude Law, Nicholas Hoult, Tye Sheridan, Marc Maron
screenplay by Zach Baylin, based on the book by Kevin Flynn & Gary Gerhardt
directed by Justin Kurzel

by Walter Chaw Justin Kurzel makes films about bad, broken men and the cultures that cultivate them, and he excels at this. His True History of the Kelly Gang is one of the great neo-westerns, while The Snowtown Murders is already a cult classic for true-crime reenactments of small-town atrocities. The only other person working so dedicatedly in this arena is S. Craig Zahler. The difference is that Zahler’s films leave me feeling filthy, disgusted with myself and everyone else. Unlike Kurzel, Zahler doesn’t deal in “based on real events” currency. Rather, his nihilism is founded on more uncomfortable insights into masculinity. Zahler’s films are about you and me; there’s no chance to separate ourselves from his loathsome and violent men. It’s that space in Kurzel’s films, the ability to say, “Sure, that happened once, but it’s over now,” that allows us to look at his subjects as apart from us. Kurzel’s films are gripping for sure, even powerful, professional and superlative technically, but not soul-sickening–not indictments of who we are and what we will allow. While he may pinion the Other with merciless clarity, he’s on the side of the angels. Society is restored in Kurzel’s films, one way or another. Zahler’s, on the other hand, offer us no good guys or a future worth living.

Nightbitch (2024) + Babygirl (2024)

December 14, 20242024, Authors: Walter Chaw, Comedy, Crime, Mystery, Netherlands, Theatrical, Thriller

NIGHTBITCH
**/****
starring Amy Adams, Scoot McNairy
based on the novel by Rachel Yoder
written for the screen and directed by Marielle Heller

BABYGIRL
**/****
starring Nicole Kidman, Harris Dickinson, Antonio Banderas, Sophie Wilde
written and directed by Halina Reijn

by Walter Chaw I’m sick of watching films about unhappy, beautiful, rich white people. You’ll forgive me. Maybe one day, I’ll regain the appetite to try to relate to the existential malaise they suffer in the face of their extraordinary privilege, their boring sex lives, their quotidian successes at the tops of various social ladders. To the winners go the spoils, as they say, but at least have the discretion to be grateful or, failing the urge to whine, the decency to be entertaining. In 2024, when the United States chose fascism on the back of a wave of populist xenophobia and white nationalism, I admired mid-life performances from Demi Moore and Pamela Anderson in mediocre but vaunted films rueing the loss of their legendary beauty in a culture that made them famous for, at least in part, their legendary beauty. Once objects of desire, they’ve come to have regrets. Me, too. I played my part in dehumanizing them in my time. It’s complicated.

Heretic (2024)

November 18, 20242024, Authors: Walter Chaw, Canada, Horror, Theatrical, Thriller

**/****
starring Hugh Grant, Sophie Thatcher, Chloe East
written and directed by Scott Beck & Bryan Woods

by Walter Chaw Heretic‘s premise is childish wish-fulfillment, an exercise in mental cruelty in which a medium-schooled skeptic challenges a pair of comely young missionaries, hoisting them on their own insinuating, syllogistic petard. And who better to function as audience avatar than Hugh Grant? Rather, this elderly iteration of Grant, crusted over with a shell of sociopathic nastiness, like his brittle accent made manifest in flesh and wool cardigan? Get ’em, you ossified piece of British shit! Grant plays Mr. Reed, a cozy hermit secreted smugly in his richly-appointed hobbit hole who invites Sister Paxton (Chloe East) and Sister Barnes (Sophie Thatcher) in from a God-is-wroth thunderstorm to indulge their desire to share with him the Good News courtesy of the Church of Latter-day Saints. He has a fire roaring, a blueberry pie in the oven, and, allegedly, a shy wife cowering in a back bedroom, so the girls aren’t in a strange man’s home alone with the strange man. The Mission wouldn’t allow that, you see, but Mr. Reed is reassuring. The amiable chatting soon turns to wicked jousting, and the jousting becomes inappropriate and uncomfortable. When Barnes and Paxton try to leave, they find that the front door is locked and their only option is the Stockton prize of lady or tiger. That is, they are offered the choice of two doors–one marked “BELIEVE,” the other “DISBELIEVE”–as their only possibility of escape from his unctuous, patronizing company. Behind one is the back entrance to the house. Behind the other? Tiger or, rather, Tyger, of the “here there be” variety.

Juror #2 (2024)

November 11, 20242024, Authors: Walter Chaw, Clint Eastwood, Drama, Theatrical, Thriller

***/****
starring Nicholas Hoult, Toni Collette, J.K. Simmons, Kiefer Sutherland
written by Jonathan Abrams
directed by Clint Eastwood

by Walter Chaw SPOILER WARNING IN EFFECT. If it were the ’90s, this would star Richard Gere, but in 2024 it’s Nicolas Hoult as Justin Kemp, Juror #2 in a murder case involving the death of volatile Kendall Carter (Francesca Eastwood) at the hands of her scumbag boyfriend, James (Gabriel Basso). Justin is a recovering alcoholic and soon-to-be dad, married to faithful schoolmarm Ally (Zoey Deutch), AA-sponsored by defense attorney Larry (Kiefer Sutherland), and shocked to discover during the first day of the trial that he may have been the one who murdered Kendall one dark and stormy night, mistaking her for a deer he struck in the road and subsequently failed to find. If he goes to the judge (Amy Aquino), though, given his history in the cups, he’ll likely face life in prison; but if he doesn’t, an innocent man (innocent of this crime, at least) will be sentenced in his place. What’s a good but flawed man to do? Make a de facto widow of his beloved on the eve of their becoming parents because of an accident that could’ve happened to anyone stuck in an ethical Trolley Test cum The Book of Questions hypothetical? Or keep it to himself, knowing that the world is probably unmoved by the loss of low-aspiring/low-achieving James? It’s a fun parlour game, and Eastwood, 94, has fun playing it.

Twisters (2024) [Collector’s Edition] – 4K Ultra HD + Blu-ray

October 24, 20242024, 4K Ultra HD, Action, Adventure, Authors: Bill Chambers, Authors: Walter Chaw, Blu-ray Disc, Spielberg, Thriller

**/**** Image A+ Sound A Extras B+
starring Daisy Edgar-Jones, Glen Powell, Anthony Ramos, Kiernan Shipka
screenplay by Mark L. Smith
directed by Lee Isaac Chung

by Walter Chaw Lee Isaac Chung’s Twisters is the whistle next to the graveyard, a fascinating companion piece to Adam Wingard’s Godzilla x Kong: the one a spectacle designed to desensitize against our ongoing climate collapse, the other to deaden us against widely-broadcast images of an ongoing genocide. Its only two points of interest are Glen Powell’s sudden ascendance as matinee idol and the astounding majesty of natural phenomena fuelled by man-made climate change–meaning, in its simplicity, the goal is to leave audiences with the dazed satiation one associates with the aftermath of an ostentatious fireworks display: half-deafened, eyes bedazzled, the smell of gunpowder sulphurous in the air. A gut full of barbecued meats and sugared drinks in the American fashion, celebrating our liberation from a monarchy on the back of our God-sanctioned manifest genocide of an Indigenous population. We had fun, but that hangover is a sonofabitch. For me, the best part of Twisters is the extended prologue, where I thought it was going to be a Kiernan Shipka movie.

Smile (2022) + Smile 2 (2024)

October 22, 20242022, 2024, Authors: Walter Chaw, Canada, Horror, Mystery, Theatrical, Thriller

SMILE
***/****
starring Sosie Bacon, Kyle Gallner, Jessie T. Usher, Robin Weigert
written and directed by Parker Finn

SMILE 2
***½/****
starring Naomi Scott, Rosemarie DeWitt, Lukas Gage, Kyle Gallner
written and directed by Parker Finn

by Walter Chaw I was distracted by what I saw as the narrative looseness of Parker Finn’s Smile, based on his short film Laura Hasn’t Slept. I thought it made a bit of a splash for a high concept carried obsessively–the titular smile maybe really just the Kubrick stare: lowered brow, manic grin. Although I admired the craft of it and Sosie Bacon’s star turn as a traumatized shrink with a troubled past seemingly losing her mind in the wake of a patient’s suicide, I dismissed the picture as thin and forgettable. But it nags and tugs, enough so that I started to wonder if I’d judged it too quickly and too harshly. I revisited Smile after watching its sequel; I realized I’d misplaced a few of the story details and flat-out forgotten the rest, and I wanted to give both films a fair accounting. Smile is two things: it’s a short film’s high concept expanded to feature length that may have one too many subplots; and it’s a solemn, principled piece on suicidal ideation and the theory it can be passed on–triggered, if you will–like other mental health crises such as eating disorders. Could someone in recovery from a self-annihilating disorder be pulled back into active crisis through exposure to someone else in the throes of the beast?

A Different Man (2024)

October 7, 20242024, Authors: Angelo Muredda, Comedy, Disability, Drama, Theatrical, Thriller

***½/****
starring Sebastian Stan, Renate Reinsve, Adam Pearson, John Keating
written and directed by Aaron Schimberg

by Angelo Muredda Speaking at a recent Lincoln Center screening of his new meta dramedy A Different Man for New Directors/New Films, Aaron Schimberg suggested the project was inspired in part by the loaded reaction to his depiction of disability in Chained for Life, his previous film. Chained for Life cast Adam Pearson, an actor with neurofibromatosis, as an actor with the same condition playing a sanitarium patient in a dodgy European arthouse film-within-the-film about a mad surgeon restoring his disabled charges to normalcy through radical experimentation. Some critics, Schimberg claims, wondered whether it might not be inherently exploitative to cast Pearson and other visibly disabled actors–many of whom, like Schimberg (who has a cleft palate), had facial differences–in a send-up of disability tropes about deformity and beauty. Others would surely have balked at the opposite approach, were he to have burlesqued disability by hiring non-disabled actors to star in a postmodern examination of the aesthetic and ethical traps of disability on film. Why not split the difference and make everyone unhappy with his follow-up, Schimberg thought, by pitting Sebastian Stan, a non-disabled actor playing a disabled protagonist in search of a cure, against Pearson as his obnoxious frenemy–a disabled man as gregarious and comfortable in his own skin as Stan’s character is desperate to crawl out of his?

Apartment 7A (2024) + The First Omen (2024)

October 5, 20242024, Australia, Authors: Walter Chaw, Canada, Horror, Italy, Serbia, Streaming, Thriller, UK

APARTMENT 7A
***/****
starring Julia Garner, Dianne Wiest, Kevin McNally, Jim Sturgess
screenplay by Natalie Erika James & Christian White and Skylar James
directed by Natalie Erika James

THE FIRST OMEN
***½/****
starring Nell Tiger Free, Tawfeek Barhom, Sônia Braga, Bill Nighy
screenplay by Tim Smith & Arkasha Stevenson and Keith Thomas
directed by Arkasha Stevenson

by Walter Chaw The sense of dread in Roman Polanski’s Rosemary’s Baby and Richard Donner’s The Omen originates from the sacrifice of anonymous young women, dead before the stories proper begin. They are the black grasping soil, the damned ritual cycle from which feelings of claustrophobia and destiny extend backwards into an infinite past and forwards into an inevitable future. These dead girls give the stories a sense of eternity, in other words, and the feeling of inescapability. I love that the latest entries in these peculiar franchises are by women. About a third of the way through Arkasha Stevenson’s The First Omen, two concentric circles of novitiates sing and dance around troubled young Carlita (Nicole Sorace) like pagans around a maypole while above them a nun, Sister Anjelica (Ishtar Currie Wilson), sets herself on fire after promising her immolation is “all for you!” For whom, it’s not clear. Possibly Carlita, the red herring of the film’s first half and the obvious source of demonic visitation at the Italian convent in which the film is set, where inexperienced Sister Margaret (Nell Tiger Free) is assigned, fresh from America like Suspiria‘s Suzy Bannion. Or maybe Sister Anjelica’s messy end is meant for Sister Margaret as a strange welcome or a dire warning. “Ring Around the Rosie” was created to teach us about the symptoms of the Black Death. I don’t know what sort of death the circling children are teaching in The First Omen, though it doesn’t matter nearly so much as Stevenson’s absolute command of the unsettling, uncanny image and the ineffable gravity of archetype.

She's a small wonder, brings love and laughter everywhere

Subservience (2024)

September 25, 20242024, Authors: Walter Chaw, Bulgaria, Sci-Fi, Thriller

*½/****
starring Megan Fox, Michele Morrone, Madeline Zima, Jude Allen Greenstein
written by Will Honley & April Maguire
directed by S.K. Dale

by Walter Chaw You could make a domestic robot servant look like anything. A spider or a dog, for instance. It could look like Michael Gough as Alfred the Butler or like Michael Caine as Alfred the Butler. It could look like ceramic Mrs. Potts and be voiced by the ghost of Angela Lansbury. It could look like a child or an old crone, a handsome young man or a beautiful young woman. What you decide you want your domestic robot servant to look like says a lot about a lot. I read that pedophiles are already buying robot children. I remember when Paulie got a robot in Rocky IV that was the spitting image of Rosie from “The Jetsons”; Paulie was, without question, fucking it. When M3GAN came out, I had a hard time believing there wasn’t at any point a serious conversation about who the target audience for a robot that looked like that, dressed like that, would be. Probably not little girls needing playmates, is what I’m saying.

TIFF ’24: Conclave + Emilia Pérez

September 20, 20242024, Authors: Angelo Muredda, Comedy, Crime, Film Festivals, France, Musical, Thriller, TIFF, UK

CONCLAVE
**/****
starring Ralph Fiennes, Stanley Tucci, John Lithgow, Isabella Rossellini
screenplay by Peter Straughan, based on the novel by Robert Harris
directed by Edward Berger

EMILIA PÉREZ
*/****
starring Karla Sofía Gascón, Zoe Saldaña, Selena Gomez, Adriana Paz
written and directed by Jacques Audiard

by Angelo Muredda Knives Out at the Vatican: That’s the basic elevator pitch for Edward Berger’s Conclave, which follows the politically loaded secret process to elect a new Pope following the death of his predecessor under shadowy circumstances. Adapted by Peter Straughan from Robert Harris’s novel of the same name, Berger’s follow-up to the very serious and very loud All Quiet on the Western Front promises a frothier, pulpier good time, and for a while, it delivers one, having some fun with its cloistered setting of hushed hallway meetings, its colourful cast of red-draped snippy cardinals, and its tight 72-hour timeframe, where anything seems possible. Before long, though, Conclave begins to sag under the weight of its pretension to justify the effortful production design (including an ambitiously but pointlessly recreated Sistine Chapel), overwrought musical and editing flourishes, and fraught setting, and to say something–anything, really–about current affairs: gender diversity in the Church, the war between nativism and pluralism, you name it.

TIFF ’24: The Shrouds

September 15, 20242024, Authors: Angelo Muredda, Canada, Directors: David Cronenberg, Drama, Film Festivals, France, Sci-Fi, Thriller, TIFF

***½/****
starring Vincent Cassel, Diane Kruger, Guy Pearce, Sandrine Holt
written and directed by David Cronenberg

by Angelo Muredda David Cronenberg is no stranger to illness and death, from the synchronized degeneration of the Mantle twins in Dead Ringers to the sickly corporeal canvas of performance artist Saul in Crimes of the Future. But the aftermath of death has never felt more personal than in The Shrouds, where the filmmaker plants his most explicit authorial doppelgänger in Vincent Cassell’s Karsh, a cryptically described “producer of industrial videos” who shares Cronenberg’s career interest in the body, his trim white hair, his puckish sense of humour, and his grief, which is so palpable it’s rotting his teeth. Made in the aftermath of his wife’s long-term illness and 2017 death, The Shrouds isn’t Cronenberg’s elegy for the dead so much as an exquisitely sad and bitterly funny reflection on the desperate, illogical, unfulfilled ways the people they leave behind–in this case, a filmmaker with a fixation on his deceased wife’s body–mourn them.

TIFF ’24: Aberdeen + Seeds

September 11, 20242024, Authors: Bill Chambers, Canada, Drama, Film Festivals, Horror, Mystery, Thriller, TIFF

ABERDEEN
**/****
starring Gail Maurice, Billy Merasty, Liam Stewart-Kanigan, Jennifer Podemski
written and directed by Ryan Cooper and Eva Thomas

SEEDS
***/****
starring Kaniehtiio Horn, Patrick Garrow, Dylan Cook, Graham Greene
written and directed by Kaniehtiio Horn

by Bill Chambers It opens on a manipulative but striking juxtaposition. A First Nations girl, Aberdeen (Ashlyn Cote-Squire), and her little brother Boyd (Lucas Schacht) go fishing with their grandparents at a lake–a sun-dappled tableau that fades out on young Aberdeen’s bright smile and fades back in to find middle-aged Aberdeen (Gail Maurice) passed out on a bench, being kicked awake by the turtleneck Gestapo on park patrol. Across town, Boyd (Ryan R. Black) is at the doctor, receiving the devastating news that he’s terminally ill. As he’s taking this in, his phone rings: could he come get his big sis out of jail? There’s an implied “this time” when the police inform Boyd that Aberdeen’s lucky they’re not pressing criminal charges, but Boyd, espying a Bible on the officer’s desk, appeals to the man’s religious convictions (and gambles on his latent racism) in blaming her actions on a “beer demon,” saying he’s been trying to get her to church. The Indigenous people we meet in Aberdeen have to be nimble code-switchers to navigate the world, and that’s something our proud, mercurial heroine steadfastly isn’t. She’s all out of fucks to give–that is, until Boyd informs her of his cancer, which has forced him to place her grandchildren, who became Aberdeen’s responsibility after her drug-addicted daughter ran away (and then Boyd’s when flooding left Aberdeen unhoused), in foster care. With a white family, no less, something “Abby” resents more than Boyd, who was raised in a white home, apart from his sister. For Aberdeen, it feels like nothing is ours and everything is theirs. What follows is a Dardennes-ian narrative in which an anxious Abby attempts to clean up her act faster than the ticker of red tape will allow.

Strange Darling (2024)

September 2, 20242024, Authors: Walter Chaw, Horror, Theatrical, Thriller

**/****
starring Willa Fitzgerald, Kyle Gallner, Madisen Beaty, Barbara Hershey
written and directed by JT Mollner

by Walter Chaw Defenders will say that JT Mollner’s Strange Darling exists, in an ancillary way, in the Martyrs universe, but it isn’t playing the same game. It lacks that movie’s meanness, for one; for another, it lacks the discipline required of ecclesiastical curiosity, the doom and fear and loathing that comes with any honest spiritual examination of the biological roots of fear. I want to call it “Martyrs for Dummies,” but that’s not exactly right, either. The only things Strange Darling ultimately shares with it–and with Christopher Nolan’s Memento–are a destabilizing narrative and an unreliable protagonist. It lacks the rigour of Martyrs and Memento, too, a clear grasp of what it’s after and how. When all’s said and done, Martyrs, which has nothing to do with Clive Barker, remains the truest adaptation of Barker’s marriage of atrocity and communion that I’ve ever seen. Strange Darling is mostly a life-support machine for a twist given away by its title. It’s like handing someone a ukulele in wrapping paper. Surprise! A gimmick tied to a high concept. A Shyamalan flick shot like a series of 1970s grindhouse trailers, featuring a lot of good work in the service of a disappointing puzzle box. Worse is that one of its red herrings involves consent and BDSM, which, you know, are serious and personal issues dangerously marginalized in horror movies that want to treat kink like a moral issue in need of correcting. Imagine the version of Strange Darling that follows through on the idea that a perfectly normal person might like to get stepped on between the sheets. Even better, imagine the version of the film interested in asking: If there is a line, how hard would one need to push to turn a “nice” man into a violent rapist?

Danny Huston and Bill Skarsgård in The Crow

The Crow (2024) + Blink Twice (2024)

August 26, 20242024, Action, Authors: Walter Chaw, Crime, Fantasy, France, Horror, Mexico, Mystery, Romance, Theatrical, Thriller, UK

THE CROW
***/****
starring Bill Skarsgård, FKA twigs, Sami Bouajila, Danny Huston
screenplay by Zach Baylin and William Josef Schneider, based on the comic book series by James O’Barr
directed by Rupert Sanders

BLINK TWICE
***/****
starring Naomi Ackie, Channing Tatum, Christian Slater, Alia Shawkat
written by Zoë Kravitz & E.T. Feigenbaum
directed by Zoë Kravitz

by Walter Chaw “Eric, I had this dark dream,” she says. She doesn’t know these are their last moments together, here and for eternity–that she’s been dead and that her lover has bartered his life for hers, and that whatever there is of mercy in this blighted place has briefly reunited them as they pass each other in purgatory. It certainly doesn’t feel like mercy. It feels cruel. Cruelty is all there is. When I was a depressed, moony kid, I believed in my heart there was a grand melodrama in which I had a part to play. A delusion of grandeur, a symptom of narcissism (should one fail to outgrow it): you dressed the part with eyeliner and black trenchcoats, Doc Martens and clove cigarettes–the borrowed identity, the illusion of disaffection in language affected by quotes pulled from Shakespeare, Wilde, and our patron saint Morrissey. Most of my childhood and adolescence was a dark dream. I lived in a fugue. I lived in the spaces where my brain needed to mature, and I didn’t know what I was doing from one moment to the next, not really. I believed I was responsible for not only the feelings but also the fate of others. I was always performing. I was never performative.

Alien: Romulus (2024)

August 15, 20242024, Authors: Walter Chaw, Horror, Sci-Fi, Theatrical, Thriller, UK

**½/****
starring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced
written by Fede Alvarez & Rodo Sayagues
directed by Fede Alvarez

by Walter Chaw SPOILER WARNING IN EFFECT. It’s at least an hour before the fan service begins in earnest, and until it does, Fede Alvarez’s Alien: Romulus is a sterling example of how to tell another story in a familiar universe without regurgitating what came before. Although I’m a sucker for Rogue One, I can’t really defend its exhumation of Peter Cushing and a young Carrie Fisher to live as zombies in digital eternity. It feels infernal, a punishment invented by Dante. In space, no one will let you die. But, oh, that first hour of Romulus, in which we’re introduced to Jackson’s Star, a miserable, exploitative, blue-collar mining colony teeming with poverty and indentured servitude. (In a nice touch, these exhausted 22^nd-century schlubs still carry canaries in cages and black lungs in their chest.) Orphaned miner Rain (Cailee Spaeny) and her adopted, Black, android brother Andy (David Jonsson) dream of starting a new life in an off-world colony (time to begin again!) but find their entreaties to the company store falling on corporate’s deaf ears. The films in the Alien universe are at their best when they’re invested in the working class: first miners, then soldiers, then prisoners. Though centring Romulus on miners again demonstrates a lack of imagination and should have been a red flag, after the strained mythopoetics of the last couple of Ridley Scott pictures, it actually ratcheted my hopes up high. I mean, even Rain’s ship is named, again, for an element of a Joseph Conrad novel, the “Corbelan”–just like the “Nostromo” of the first film, the “Sulaco” of the second, and the “Patna” of the third. Hearts of darkness, indeed. Capitalism will destroy us all.

Borderlands (2024)

August 11, 20242024, Action, Adventure, Authors: Walter Chaw, Comedy, Sci-Fi, Theatrical, Thriller

½*/****
starring Cate Blanchett, Kevin Hart, Jack Black, Jamie Lee Curtis
screenplay by Eli Roth and Joe Crombie
directed by Eli Roth

by Walter Chaw Borderlands is what happens if you stop evolving as a human being when you’re a privileged, 16-year-old, cis-gendered, heterosexual male. When you are a mess of hormones and your prefrontal lobe has not finished growing–has barely even started growing, truth be known. Remember the uncontrollable and inexplicable boners? The constant fear and self-loathing that results in your actively seeking out groups you perceive to be vulnerable in order to predate upon them and make yourself bigger? You are violent and emotional and wrapped up in your melodrama. You might pretend that you wrote that song by Counting Crows because you are well aware you’ve done nothing of note and, based on the emptiness inside, probably never will. Yet you believe the world is for you, since you’ve never learned any differently from Dad, the doctor/professor, and Mom, the artist. I read somewhere that dolphins stopped evolving because there was no need: the food was plentiful, and they reached the top of the food chain. I believe certain people stop evolving in the same way because interpersonal and professional success was handed to them, so they didn’t need to develop curiosity, empathy, or humility. I’ve heard that dolphins, incidentally, are assholes, too.

Trap (2024)

August 3, 20242024, Authors: Walter Chaw, Crime, Directors: M. Night Shyamalan, Horror, Mystery, Theatrical, Thriller, UK, Yemen

½*/****
starring Josh Hartnett, Ariel Donoghue, Saleka Shyamalan, Hayley Mills
written and directed by M. Night Shyamalan

by Walter Chaw I try sometimes to put myself inside the mind of the creator, to imagine the route they took to the art they made. Maybe M. Night Shyamalan was at a concert, looked around, and imagined what it would be like if everyone there was searching for him. How he would have trouble blending in, but someone who looked like, say, Josh Hartnett, might have an easier time of it. He kind of took a run at this with the football game in Unbreakable, right? But why would Night imagine people were looking for him in the first place? Did he want that? Did he want the discomfort of being recognized in public, the struggle and obligation to be magnanimous towards strangers while remaining present for his family? Was the sacrifice of it appealing, a chance to display unusual charm and grace and build on the self-mythology he started in SPORTS ILLUSTRATED reporter Michael Bamberger’s hilarious, bathetic The Man Who Heard Voices, which begins: “Night’s shirt was half open, Tom Jones in his prime.” Not Henry Fielding’s fortunate foundling, for sure, but the Welsh sexy beast notorious for the amount of ladies’ lingerie tossed in his general direction on stage. Maybe Night was feeling the burden of being semi-famous in a specific location that night at this theoretical concert. Maybe he was feeling the burden of not being more famous.