Thunder Road


US | 2018 | Directed Jim Cummings

Logline: A police officer begins to have a nervous breakdown as he struggles to deal with this mother’s death, a divorce and custody battle for his young daughter. 

Expanding on his 2016 multi-award-winning short, writer/director and star Jim Cummings has delivered what is very likely to be in my top three favourite movies of the year. Yup, it’s April, and I’m calling it. Thunder Road is a darkened comedy-drama, what we call a tragi-comedy. With a tour-de-force performance from Cummings, it’s a superb vehicle for his talents as a writer and actor. 

The movie opens with Austin, Texas police officer Jim Arnaud (Cummings) at the funeral service for his mother, attempting a heartfelt eulogy. It is painfully obvious he is struggling, both emotionally and psychologically. It’s a single take, as the camera slowly dollies down the church centre aisle, with Jim recollecting, apologising, recollecting, apologising, wavering between abject grief and tempered frustration. His endeavour to perform a dance piece is an absurd display, since the CD player won’t work. The mother of his separated wife steps in to calm him down. 

That prologue formed the basis of the short film.


The feature continues with Jim’s trials and tribulations, his plight through personal mourning and public mistake. His work performance is at risk, and his daughter, Crystal (Kendall Farr) is suffering too. Then wife Ros (Jocelyn DeBoer) files for divorce, and Jim is a crumpled heap, clutching at straws, bursting into tears at the slightest provocation. Can he pull himself together? He desperately wants to. 

Let’s hope he sorts his shit out. For everyone’s sake. But there’ll be many tears before bedtime. 


Jim Cummings seems to have sprung out of nowhere, but it turns out, apart from a number of shorts he’s directed over the years, he’s had his fingers in a few creative pies, and also did a stint as a visual affects production assistant for ILM on Captain America: The Winter Soldier. Thunder Road is his second feature (he made another comedy back in 2010) and I am very impressed with this man’s take on life’s wee ironies, the delicacies of maintaining relationships, his insightful window into the soul. Jim Arnaud is one of the most complex and rewarding characters I’ve seen in a long while; awkward and at times pathetic, but tenacious, compassionate, and utterly endearing.


The direction is not cinematic in any standout way, in fact, much of the time the movie feels like a television adaptation of a play; there are few locations and just a clutch of main roles. Nican Robinson is terrific as Jim’s police buddy Nate, as is Chelsea Edmundson as Jim’s sister, and Macon Blair makes a short appearance as Crystal’s school teacher in a wonderfully funny scene.  But Cummings keeps the narrative brisk, and his central performance - he’s in almost every scene - is one to behold, especially with his monologues. 


Thunder Road (its title is taken from the Bruce Springsteen song, which is used in the short) is one of the year’s true delights, essential viewing for anyone who has struggled with grief, struggled with the role of parent and provider, struggled with recognition, struggled with connection to those they love, and those they might have lost. Struggled with always having to put on the happy face. Thunder Road will provide the perfect emotional release. 

Feel free to laugh out loud.

“Oh oh oh oh, Thunder Road

Sit tight, take hold, Thunder Road …”



US | 2018 | Directed by Karyn Kasama

Logline: A troubled police detective reconnects with people from an old and unfinished undercover assignment in order to make peace with herself. 

After several years of television work Kasama returns with her follow up feature to The Invitation with a terrific crime thriller featuring Nicole Kidman in the utterly deglamorised role of a disheveled, barely functioning law enforcer on the trail of the scumbag that slipped through her fingers. Destroyer is a hard road to redemption.

Erin Bell (Kidman) is an LAPD detective still shell-shocked from events ten years earlier, when, as an undercover with a gang in the Cali desert, her assigned job went tragically pear-shaped. Now, with a John Doe sprawled in the floodway, Bell has to trace her way back through the remaining figures involved, and dig into her own damaged history, including attempting to re-connect with her estranged teenage daughter, Shelby (Jade Pettyjohn).


Phil Hay and Matt Mandredi’s screenplay weaves in and out of the present and the past creating a kind of narrative jigsaw. It’s a slow burner, like many of the notable neo-noirs. The issues I had with character motivation, especially two of Bell’s most crucial decisions, were outweighed by Kasama’s attention to mood and performance. Kidman has delivered better work, most notably in the series Big Little Lies, but this is still a solid role, and she rises to the occasion. 

Along with Pettyjohn, Sebastian Stan, Toby Kebbell, Tatiana Maslany, and Scoot McNairy all provide excellent support. If there’s one thing Kasama achieves brilliantly, it’s casting. She has Scorsese’s Midas touch. 


Julie Kirkwood, who provided Oz Perkins with beautiful cinematography for February and I Am The Pretty Thing That Lives In The House, gives the City of Angels and its immediate surrounds the kind of desolate, sunburned glow that mirrors the protagonist’s jaded, desperate soul. From the get go it’s obvious this story isn’t going to pan out so well for Bell. The movie’s title spells things out fairly clearly.

Theodore Shapiro’s score pulsates with intent; it’s a superb accompaniment to Bell’s quest, punctuating her attack and defense with dramatic intensity. 


I’m reminded of one of my very favourite neo-noirs, Romeo Is Bleeding, with Gary Oldman in a role not entirely dissimilar to Kidman’s. They are wounded animals clutching on the present by way of the past, destined to become prey to their own guilt and misfortune. We watch with morbid curiosity as they spiral downward. This is what makes noir so damn special, especially when it’s directed so well. 



France/Belgium | 2017 | Directed Coralie Fargeat

Logline: A young woman, on a tryst with a married man on a hunting weekend, is raped by one of his colleagues and left for dead, but soon the hunters become the hunted. 

Gotta love the French for pushing the envelope when it comes to modern horror, time and time again they deliver the hardgore goods, and Fargeat’s debut feature is no exception. In what appears on the glossy surface as your standard rape-revenge flick, it becomes an elevated exploitation flick, if such a thing can exist. Revenge kicks tight ass into the middle of next week.

Richard (Kevin Janssens) is a wealthy, good-looking CEO, on a weekend hunting trip, to let off the proverbial corporate steam. He’s a married man (as phone calls to his wife back home reveal), but he’s arrived by chopper to the lush desert pad with his young mistress, Jen (Matilda Lutz). They enjoy a bit of nooky, and Jen awakens later and is surprised by the arrival of his two hunting pals, Stan (Vincent Colombe) Dimitri (Guillaume Bouchéde) and who’ve turned up a day early. 


Later the four of them get juiced by the pool and turn the music up, and Jen parades around. Everything seems fine and dandy. But when Richard leaves the property on an errand, Stan decides to make sleazy moves on Jen, whilst Dimitri nurses a hangover. Things go from bad to worse. Oh yes, there’ll be tears before the chopper arrives, there’ll be hell to pay. 


All the tropes are in place, the remote, desolate location (which is never named, but one assumes it’s somewhere deep in the Nevada Desert), the gorgeous girl whose charming demeanour is abused, the crass and ugly assailants, the two-faced rescuer, the escape, the pursuit, the degradation, the desperation, the sweat-soaked rise to the challenge, and the oh-so cold serve of revenge.  

Fargeat has a sensational eye, and the movie’s mis-en-scene is laden with symbolic imagery, most notably the phoenix, the bird that rises from the ashes. Robrecht Heyvaert’s cinematography, shot in vivid colour, the heat undulating off the screen in waves, the sweat running down in rivulets, is stunning. Curious to note that the movie was shot on 35mm, a consciously artistic choice these days, as most movies, especially ones of this stock, would be shot with digital cameras.


Of special note is Laetitia Quillery’s terrific special effects makeup work, most notably in the movie’s second half, with a glass injury to the sole of the foot that will make even the most hardened gorehound grimace. Apparently there was so much blood spilled - just wait ’til the movie’s last fifteen minutes! - that the sfx crew kept running out of fake blood. I must point out though, that you need to suspend all belief going into this movie, as there is a major plot point at the half hour point that will have most viewers rolling their eyes. You need to push that reservation aside. In fact, there are several more along the way, but hey, this movie is actually a very, very dark comedy. So pitch black, it demands its own Pantone entry. 


So, absurdities aside, Revenge is a sensational b-movie given stellar treatment; the performances, especially Lutz and Janssens, are cracking. Lutz is an Italian ex-pat, but she oozes Californian sex appeal, whilst Jannsens has those chiseled matinee looks that belies his matter-of-fact murderousness. What’s also worth noting, Lutz has no dialogue past the half-hour mark, relying purely on body language and facial expression, and a scene within a cave, involving DIY surgery and a peyote-fuelled nightmare is a highlight. 


Yes, it’s a violent movie for those unused to it (although unusually, and notably, for a rape-revenge flick it doesn’t actually show the rape on-screen), and the last fifteen minutes are unlike anything you’ve likely seen in a mainstream horror movie, elevating Revenge into the pantheon of contemporary cult classics. With Robin Coudert’s synth-soaked score adding further seductive fuel to the fire, voila! You have a graphic hardbody horror worth hooting about. 

Revenge screens as part of the Alliance Française French Film Festival in Australia, March - April 2019.

Visit here for screening venues, dates, and times. 

Vox Lux


US | 2018 | Directed by Brady Corbet

Logline: Follows the career trajectory of a pop star and her immediate entourage from her discovery into troubled adulthood. 

At the end of the last millennium a disturbed school student drives along a lonely road, parks his van, and walks through the cold night to his final destination. 

Young Celeste (Raffey Cassidy) and her older sister Ellie (Stacy Martin) are in the classroom where the student gunman arrives, glass-eyed and determined. He guns down the teacher. Celeste tries to reason with him. She is shot in the neck, but survives. 

In the aftermath Celeste and her sister write and perform a song that becomes a surprise national anthem of hope and solidarity. Celeste is taken under the wing of an opportunistic, but savvy manager (Jude Law), who teams her with a hot shot producer, and before you can say YOLO FOMO Celeste is making her first record and on her way to international fame, with all its trials and tribulations, joys and trappings.

Jump to the present day, and Celeste (Natalie Portman) is under the thumb of pop pressure, with a tour at her doorstep, a petulant teenage daughter, Albertine (Cassidy, again), her faithful manager easing her through the gauntlet as terrorist activity hits the media, using her imagery as their disguise. 


But the show must go on. 


For his second feature actor-turned-director Corbet delivers an enigmatic, curious fictional biopic that works like an adaptation of a non-existent novel. Based on a story written by Corbet and collaborator Mona Fastvold (who co-wrote his debut feature) it is a compelling, intriguing tale of struggle and perseverance, of human frailty, and familial bonds. The relationships Celeste has with her sister and her daughter are wonderfully nuanced. Also important, though peripheral, is Celeste’s relationship with her manager, which is expressed perfectly in scenes when Celeste is teenager and adult. 


The score is by UK veteran Scott Walker, himself a pop star from the 60s, whilst the songs that are Celeste’s are written by Australian legend Sia. It’s interesting to note that Portman, Law, and Sia also served as executive producers, no doubt to ensure Corbet would be able to hold on to his vision, and it’s a bold and distinct one. 

The core cast are exceptional, Portman delivering (another) career performance, while Cassidy holds her own. Law is always wonderful when he’s given character work. He’s an actor with leading man looks and presence, but he’s much stronger when given key support work, or plays a less glamorous role. Martin, as the sister in the shadow, is solid, as is Jennifer Ehle in the support role of publicist, while Christopher Abbott pops up in one scene as a befuddled music journalist. 


Vox Lux has cult favourite written all over it, from its intense melodrama, ramblings, and wayward angst, through to its extended concert performance at movie’s end, its lingered in my head for the past couple of weeks, sure to be one of my faves for the year. An inspiring, uplifting movie that cleverly transcends the melancholy and tragedy its tied to. I look forward to more stories and style from Corbet. 



Iceland | 2018 | Directed by Joe Penna

Logline: Stranded in the Arctic after a plane crash a man is forced to embark on a dangerous trek across the inhospitable landscape in search of rescue. 

After a series of short films and television episodes ex-pat Brazilian writer/director Joe Penna turns his hand to the classic survival genre where a resourceful man is pitted against the ruthless natural elements and has hope tugged and whipped out of him. It might not sound much like an entertaining night at the movies, but Penna delivers a thoroughly gripping exercise in narrative efficiency. 

The always brilliant Mad Mikkelsen plays Overgård, an Arctic pilot whose plane has crashed on the tundra. He is seen tending to his makeshift fishing holes and windup radio beacon at the start of the movie. It appears he’s been stranded for several days already, maybe longer, making use of the limited tools and supplies he has. He has to ration the fish he catches, and maintains a tight routine, via his watch alarm, activating the radio beacon and checking his bait line. There’s pretty little else to do. Except sleep, and thankfully the plane’s fuselage provides the essential shelter. And hope. Hope looms large.


A distant polar bear catches Overgård’s scent, but thankfully isn’t interested, since the creature has probably just eaten. Whew. But it’s only a matter of time before he and the polar bear will encounter closer quarters. Hopefully the man will be rescued before then. Surely. Yes, a helicopter swings by, but the wind gusts are too strong for the whirlybird to land. Overgård watches aghast …

With little-to-no dialogue, and an excellent ambient score from Joseph Trapanese, Penna delivers a superb vehicle for Mikkelsen. It reminds me of another recent survival flick, All is Lost with Robert Redford struggling alone on a damaged yacht on the open sea. Both excel with a pared-back narrative, with just the bare mechanics of weathered emotion and psychological resilience and the wrath of nature on display. 


Survival movies are like horror movies for realists. A nightmare scenario made absolutely palpable. If the production values, direction, and acting are top notch, a sense of authenticity is heightened, and the movie will pack true visceral thrills. Unlike many low-budget exploitation-style survival movies, like the ones popular in the 70s, Arctic makes the viewer feel like they are watching a fly-on-the-wall documentary. 

Made on a micro-budget (by Hollywood standards) Penna shot the movie over 19 days in Iceland, and Mikkelsen regarded it as the most difficult experience of his career. Although it’s not the first time he has commanded a picture with almost no dialogue set entirely outside, as he played a Viking warrior in Nicolas Winding Refn’s masterful Valhalla Rising


Arctic is a mostly hushed and desolate journey, with the exception of a truly hair-raising encounter with a hungry polar bear - but we knew that was coming. Of course, Overgård’s plight is brutal, there is no denying that, just as any arduous trek across an unforgiving landscape would be, and Overgård has his work cut out for him, as he valiantly attempts to save not just his own life. It becomes the classic scenario of will he make it, or will he succumb? Penna pulls all the right strings at the right time, and delivers one of the best examples of the genre, and my first favourite for the year.

[REC] & [REC] 2


Spain | 2007/2009 | Directed by Jaume Balagueró & Paco Plaza

Logline: A reporter, numerous firemen and tactical police, a doctor, and local residents, are quarantined within an apartment block that has been infected with a diabolical virus. 

Plucky young television presenter Angela Vidal (Manuela Velasco) and her cameraman Pablo (he’s never seen and no one is credited to playing the character) are doing a piece on the night-shift at a Barcelona fire station for the programme “While You’re Asleep” and hoping for a little emergency action to spice things up. 


Sure enough, in the wee hours they’re off to rescue an old woman trapped in her apartment. When they get to the building police are already there. Inside the woman’s apartment they discover she’s covered in blood, deranged and dangerous. In fact, she’s in a raging, ravenous fit, and she chomps down on the neck of one of the police officers. 


Everyone retreats, but not before one of the firemen gets bitten also. It soon becomes apparent they have been infected with something. Before anyone can be evacuated the entire building is sealed off and quarantined. For the remainder of the movie Angela and the surviving others must navigate the building, floor by floor, trying desperately not to be bitten by the infected. 

The tension and suspense is ratcheted right up after Angela and Pablo break into the penthouse apartment, which had supposedly been abandoned by the owner. Inside they find the walls plastered with revelatory newspaper clippings. It seems they’ve stumbled onto a can of real nasty worms.


The Blair Witch Project put the found footage sub-genre back on the map, but it was another eight years before the format really took off, and [REC] was the movie to do it. Plot mechanics pared back so vehemently one wonders if the original treatment ran longer than a paragraph. Balagueró and Plaza tapped into a throbbing jugular, pulsing with the tainted blood of the good old-fashioned things-that-g0-bump-in-the-night and the viral volatility of 28 Days Later, harnessed in real time. 

[REC] kicks serious butt, especially the second half. Manuela Velasco holds fort like a champion, the support cast are solid, and what an ending!


But it ain’t over ‘til the thin lady screams. [REC] 2 continues the rabid urban nightmare as members of the GEO (a Police Tactical Unit) team accompany a medical expert, Dr. Owen (Jonathon Mellor), into the quarantined apartment building in a vain effort to get a blood sample from the young girl, Medeiros, who was the very first infected. The doctor believes an antidote can be created. But first they must find her. 

To complicate matters, three mischievous teenagers; Ori (Alex Batlloir), Tito (Pau Poch), and a hesitant girl, Mire (Andrea Ros) decide to follow a fireman and a distraught husband/father down a manhole and up inside the infected building. The manhole is welded shut. 

I like to call the sequel [REC] Part 2 as chronologically it carries on directlyfrom the first movie (like Hostel: Part II and with that in mind Halloween II should’ve been Halloween Part II, but I digress...) [REC] 2 is the easily one of the best horror sequels. Two years after the first movie Balagueró and Plazareturn with a vengeance, maintaining the same intense level of chaos and hysteria, but upping the ante, and twisting the supernatural origins with a heinous screw, culminating in a brilliant denouement (forget the third and fourth installments in the series, it starts and ends here).


There’s not an awful lot of plot going on, it’s about the immediacy of the situation and the overall visceral experience, as seen and heard through the video recording taken by TV cameraman Rosso (now identified as cinematographer Pablo Rosso), in the first movie, and by several of the GEO team (Rosso again as a different character, but obviously returning as cinematographer) who have camcorders mounted on their helmets, in the sequel. 

Like the best found footage flicks there is a genuine sense of urgency and palpable dread that exudes through the shaky-cam, the editing, and the excellent use of the location shooting. The infected humans in the [REC] movies are like the Rage-infected from 28 Days/Weeks Later, they move fast and furious! I love my shuffling undead, but the menace factor in the [REC] movies is ferocity to be reckoned with. 

The brilliant plot device of the first movie is returned to when the GEO team use their helmet cam’s night-vision during the movie’s last ten or so minutes, after Dr. Owen and a few others have returned to the penthouse apartment. It is exclusively Dr. Owen’s voice command to the outside that will allow the surviving team’s rescue. 


But there’s hell to pay. And suffice to say that all hell breaks loose. 

An atmospheric authenticity is crucial to both [REC] movies, suffice to say, the sequel even tops the first movie with its attention to detail. Perhaps not quite as confronting with the initial premise, simply because we’re returning to the scene of the crime (or is that accident?), but certainly the violence is ramped up, performances are strong, the creep factor enhanced, and all the panic buttons are pushed at once. 

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[REC] & [REC] 2 are lean, mean, killing machines, short, brutal, brilliant, and with no score. I insist that they be watched back-to-back. With birra at hand. 

Leave No Trace


US | 2018 | Directed by Debra Granik

Logliine: A war veteran and his daughter, whose seemingly ideal off-grid existence is torn apart after authorities discover their whereabouts, struggle to continue in the normal world. 

Granik returns to the grim themes of her earlier features Down to the Bone and Winter’s Bone; poverty, displacement, psychological wounds, physical stress, survival of the fittest. With her new drama she and co-producer and co-screenwriter Anne Rosellinni have adapted the novel My Abandonment by Peter Rock and made a stunning and beautifully realised drama about the plight of a father-daughter relationship.

Tom (Thomasin Harcourt McKenzie) is a young teenager who loves her father, Will (Ben Foster), unconditionally, and has relied on his knowledge and teaching for as long as she can remember (her mother’s absence remains a mystery). Will is an Iraq war veteran who suffers from PTSD, and can’t cope with social interaction for any stretch of time. Together they have lived off-grid, roaming and camping from parkland to bushland, living hand-to-mouth, buying the bare essentials from nearby towns out of necessity, with money Will makes from selling his veterans’ issued painkillers to other less able vets. 


It is in a large Portland, Oregon park where Will and Tom’s current makeshift home is torn asunder, after Tom is accidentally spotted by a passing jogger, who alerts the police. Father and daughter are temporarily separated by social services who try and relocate them into a decent housing and work situation on a tree farm. Tom gets a pleasant taste of the social interaction she has been so deprived of, and this upsets the equilibrium between herself and her father.


In much the same way Granik did for Winter’s Bone, Leave No Trace is a slow burn drama, with a quiet intensity that smoulders like a camp fire. Where the movie excels is in the naturalistic performances, and the gentle, perfectly nuanced pace and tone of the narrative - much of it dialogue-free. This is one of the most emotionally resonant stories I’ve seen on the big screen in quite awhile, and much of the movie’s power is drawn from the terrific performance of McKenzie. I can’t help but make a comparison to Granik’s earlier Winter’s Bone, and Jennifer Lawrence’s breakout role. Two very different actors, but both roles exude great subtlety and vulnerability. 


Michael McDonough’s gorgeous cinematography captures the forests with such tranquility and beauty, but it is the combination of many elements that have created such a satisfying movie. In this suffocating climate of neo-conservatism I found it intriguing that there is nothing vulgar or crude, nothing overtly violent or brutish (with the exception of the arrest and the destruction of the camps), nothing profane, nothing offensive in Leave No Trace, yet there is an ever-growing intensity of character, a darkening tone that spreads, shrouding any true happiness that Tom yearns for, that has been stolen from Will. 


Yet … yet, there is light peeking through the trees. “I don’t have the same problem you have.”

Leave No Trace is a mediative, reflective, and deeply affecting study of unhinged souls, a kind of al fresco chamber piece. Probably not everyone’s chipped enamel mug of black gumboot tea, but ultimately one of the most emotionally rewarding movies in years. Certainly amongst my very favourites of the year.

The Children


UK | 2008 | Directed by Tom Shankland

 Logline: Two families unite at an isolated country house to welcome in the New Year only to find their four children have become infected with a parricidal-inducing virus. 

In the crisp country retreat of a lovely country house Elaine (Eva Birthistle) and husband Jonah (Stephen Campbell Moore) arrive with grumpy teenage daughter Casey (Hannah Tointon), anxious Miranda (Eva Sayer) and Paulie (William Howes), who’s a little green around the gills. There’s an enthusiastic welcome from Elaine’s sister Chloe (Rachael Shelley), husband Robbie (Jeremy Sheffield), and their kids, broody Nicky (Jake Hathaway) and shy Leah (Raffiella Brooks). It’s a handful-and-a-half of loud, nervous, disruptive energy for the parents, but that ain’t nothing compared to the horror and terror still to come. 

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The premise is very simple, yet utterly devastating; one family visiting another to celebrate the New Year in the rural English heart of winter end up with all their children infected with an aggressive, unknown virus, who then turn murderously against their parents. It’s a nightmarish scenario, and Shankland, who also wrote the screenplay, handles the increasing chaos consummately.

The story is courtesy of Paul Andrew Williams, who wrote and directed The Cottage and Cherry Tree Lane. Shankland directed the dense psycho thriller WAZ (aka W Delta Z), which had its fair share of intense horror moments and was drenched in the thickest atmosphere this side of Hell’s Kitchen, but The Children, whilst intense and atmospheric, is a lot more resonant and memorable, dripping with dread, flickering and twitching like a fever dream, and, most interestingly, feels – and even looks – like a tale of domestic disintegration straight out of the late-70s, even though it's contemporary-set. 


After the younger kids have been put to bed, and Chloe has embarrassed Casey in front of her mother, the dynamics between the children shifts. Paulie, who had vomited upon arrival, has become withdrawn, staring vacantly out the bedroom window, and now wee Leah coughs and splutters, wiping away a dark viscous substance from her mouth onto her pillow (cue: microscopic close-up of nasty swarming bacteria). 

The next day, during a snow fight and sledge run down the soft hillside beside the house, trouble, disaster and tragedy snowball. The seemingly self-involved adults, including Casey, are stretched to the end of their tether, and become helpless, even stupid and useless, against the sly and deadly machinations of the children. While the frosty rays of the sun pierces through snow-capped forest canopy, the isolation becomes overwhelming. 


Director Shankland has garnered an excellent cast, and skillfully coaxes and manipulates convincing performances of varying levels of intensity from the four younger children. The standout though is Tointon; despite her petulance and mischief, it is her plight the audience feels most empathy for, and which the movie steadily narrows in on.

The elliptical editing that occurs sporadically throughout the movie contributes to the oppressive atmosphere of feverish unease, contrasting against the tranquil images of the surrounding forest and lonely shots of the children’s abandoned toys. The moments of brutal violence pack some serious punch, and whilst not lingeringly graphic, they’re still horrendous (watch out for the ocular horror!) But most notable is Shankland’s use of close-ups and extreme close-ups, and coupled with Tointon’s large expressive eyes, gives the movie a distinct Euro-horror edge, reminding me of Dario Argento and Sergio Martino. 


The Children is an eerie, apocalyptic tale, the scope of which only becomes terrifyingly clear in the closing minutes. The ending is open and frayed, at the time possibly for sequel’s sake, but thankfully none was made, as the movie’s engulfing darkness is more powerful left as it is, and adds more fuel to the fire that 2007 and 2008 were arguably the two best years in international horror of the new millennium.  

The Big Lebowski


US | 1998 | Directed by Joel & Ethan Coen

Logline: A simple man of leisure is rudely mistaken for a rich cat and has his life turned upside down whilst he seeks restitution for his ruined rug. 

Philip Marlowe throws in the towel, rolls a fat doobie, fishes out his grooviest pari of Bermudas, grabs his smoothest bowl, and heads on down into trouble and enlightenment. Well, not quite. Marlowe, that is. But it's still the City of Angels, and there's a healthy helping of mystery, with lashings of sex, spiced with illicit drugs, and extra double dealings thrown in for good measure. Rolled like a fine burrito and spun down an alley toward ten pristine pins. This is a kooky tale in the life of The Dude, narrated by The Stranger, but you can call it The Big Lebowski

Joel and Ethan Coen have crafted some of the most memorable movie yarns of the past thirty-five years, in particular Blood Simple, Raising Arizona, Barton Fink, Fargo, No Country for Old Men, and The Big Lebowski is no exception. Effervescent dialogue, charismatic characters, bold imagery, and a delicious twist of classic genre tropes, they paint small stories with big brush stroke, embellished with rich cinematic nuances, and a most wry sense of humour. 


Between the brothers (Joel is credited as director, Ethan as producer, and both as screenwriters) they have a wonderful knack of making their movies resonate like pieces of classic literature, or a great pulpy paperback. The Big Lebowski slides along like a Tom Robbins fairytale; great visual motifs amidst playful, yet oddly serious adult ideas. Running the gauntlet of murder and intrigue, jumping the hurdles of corruption and betrayal, slapping dysfunction in the face, tripping up eccentricity, and then out the other side for a long, cool beverage, a spliff, and that important bowling tournament.


Hell, you can't let Jesus (Hey-Zeus!) screw you over, nor let some damn Kraut nihilists drop a marmot in your bath, and get away with it! Nor let any porno thugs slip something in your favourite cocktail. Watch out for that avant garde artiste sophisticate, she's looking to fornicate with intent, and the sexy wife of her millionaire father, she'll suck your dick for a thousand bucks and not bat an eyelid. Slip them shades on, man. It's cool. Dive into a dream or two, life's just one big long alley, and a rug's a rug's a rug. Or maybe it's something more. 


Jeff Bridges, John Goodman, and Julianne Moore have a ball in this eclectic suburban farce. With tasty side roles to chew on for the likes of Steve Buscemi, John Turturro, David Thewlis, Peter Stormare, and Ben Gazzara, the Coen lads, like QT, are brilliant in their casting (and we know that's half the job done!) I'm sure that was David Lynch chauffuering in one scene! And let's please not forget Sam Elliott's dulcet tones and craggily handsome features as the Stetson-topped Stranger, yes, that's just the dandy sarsaparilla on top. 

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The Big Lebowski gives a big twentieth anniversary grin. If you're coming to it for the first time, it definitely deserves more than one viewing. Unassuming, yet quietly rewarding, and most satisfyingly off the wall. This is the White Russian sorbet to cleanse your cinematic palette. 



UK | 2017 | Directed by Michael Pearce

Logline: A troubled woman living in an isolated community finds herself pulled between the control of her oppressive family and the allure of a secretive outsider suspected of a series of brutal murders.

Moll (Jessie Buckley) is a young woman in her 20s who is still living at home, a prisoner of sorts, held captive by her family’s moral rigour, in particular her mother Hilary (Geraldine James). Her sister, Polly (Shannon Tarbet), is the daughter done good, very pretty and engaged, while Moll struggles with insecurity, haunting memories, and the unwanted affection of the local policeman, Harrison (Oliver Maltman). 

Frustrated at her own birthday garden party Moll slips away into the island night, and spends the wee hours dancing with a stranger at a local shindig. In the cold crisp light of dawn the stranger’s intent turns sour, but thankfully Moll is rescued by the intervention of Pascal (Johnny Flynn), a lone huntsman, scarred, but ruggedly good looking. There is an immediate attraction, Moll and he are drawn to each other like moths to the flame. Meanwhile, there are terrible murders taking place in the community and the law is closing in. 


Operating like a kind of dark fable with horror elements peeking and probing from the darker corners of the narrative, the ambiguity of its two leads become entwined, as protagonist and antagonist seemingly begin to merge, the central pathway becomes unreliable, unpredictable, dangerous. The grasp of forbidden desires becomes clammy and slippery, the pursuant clouds darken, as Moll and Pascal’s relationship becomes inexorably entangled, and confusion rears its ugly head, whose truth is real? 


This is a highly accomplished debut feature from writer/director Pearce, who weaves the machinations of a macabre psychological thriller with the poignant, delicate elements of an illicit romance, ultimately creating a hybrid creature that slinks and slithers slyly, then bites savagely. Its slow burn technique belies its truly dark heart. “Be careful what you unleash” warns the movie’s tagline, while another could be “The heart is a lonely hunter”. Beast plays with familiar tropes and conventions, whilst it gently tugs the rug from under your muddy feet. 


On much of the surface Beast plays like a regular serial killer thriller, and it isn’t until the very end that you realise how immensely satisfying the movie has been. A production where all the department boxes can be given big ticks; gorgeously shot by Benjamin Kracun, a bristling, captivating score from Jim Williams, terrific performances from the entire cast, especially newbie Buckley and Maltman, but also the ever-reliable James, in a small, but pivotal role as the overbearing mother, plus some really nifty editing from Maya Maffioli in certain crucial scenes.

Beast is a one of those delicious nightmare thrillers that I hunger for each year, and now I’m feeling sated. 



You Were Never Really Here


France/UK | 2017 | Directed by Lynne Ramsay

Logline: A man hired to rescue trafficked girls struggles with his inner demons on his toughest job yet.

Joe (Joaquin Phoenix) is an extractor, a hired gun (hammer, to be precise) who infiltrates sex trafficking rings and rescues the young girls who have been abducted. It’s a messy job, as Joe is known for his brutal methods, and he has the horrendous scars to prove his mettle. He is also plagued by nightmarish flashbacks from his damaged youth and tours of duty as an adult in the military and within internal affairs.

Joe uses auto-asphyxiation to alleviate his PTSD, which in turn exacerbates his psychological condition, with the dark abyss of suicide never far from his precarious perch. He self-medicates with self-harm. It’s the only avenue he understands and trusts. The rescuing provides him with slight relief, as it allows him to believe he is saving a sliver of himself each time, or the memory of himself. 


Joe visits his frail mother (Judith Roberts), who still lives in his childhood home. He cares for her, but the household memories are like a demonic shroud. His job supervisor, McCleary (John Doman), has a new and lucrative assignment, to rescue Nina (Ekaterina Samsonov), the troubled, adolescent daughter of New York State Senator Votto (Alex Manette).


With Radiohead’s Johnny Greenwood providing a brilliant, nerve-shredding electronic and orchestral score as the spine, we follow Joe’s path into the bowels of darkness. Shards of his harrowing young domesticity and chaotic and violent career pepper the mise-en-scene like stabs from a nasty migraine. Joe is simultaneously jaded and resilient, soldiering on, at all cost, and this job will take him to the very edge of the precipice.


A powerhouse performance from Phoenix (and though I am forever reminded of his late, older brother whenever I see Joaquin on screen I believe the younger brother has absorbed his tragic brother’s animal spirit), he commands the screen with his hulking form, like a kind of black angel, searching for a deliverance, aching for release, desperate for oblivion to take his hand.


Just as Ramsay has done with previous adaptations, Morvern Callar and We Need To Talk About Kevin, she has possessed a novel and made it her own, tackling the implosion of the psyche due to external forces, framing trauma as catharsis. It’s a disturbing, but stunning portrait. The violence seethes, both implicit and explicit (though the graphic element tends to be the aftermath), the tone grim as nails. The title, You Were Never Really Here, seemingly refers to psychological removal for self-protection, further hammering (if you’ll pardon the pun) the point home with past tense and in third person.

Like a new millennial mutation of Taxi Driver this searing, blistering study of violence and fractured retribution is, quite simply, a masterclass in cinematic technique, and one of my very favourites of the year.


You Were Never Really Here opens in Australian cinemas nationwide on Thursday September 6th. 

Pet Names


US | 2018 | Directed Carol Brandt

Logline: A young woman, trying to cope with her sick mother and her own fragility, finds herself on a weekend camping trip with her recent ex-boyfriend.

Call me hipster, I don’t care, but I love a dysfunctional indie romance. My darling is Evan Glodell’s Bellflower from 2011, a benchmark in terms of capturing the listlessness of summer, the fresh scent of desire, the sour odour of heartbreak, but especially those moments between the moments, the elusive awkward poignancy that so many filmmakers strive and fail to harness. 

For her third feature young director Carol Brandt has fashioned a beautifully understated observation on the search for closure and acceptance that charms effortlessly with wonderful performances from her two leads, Meredith Johnston as Leigh, and Rene Cruz as Cam. The screenplay is by Johnston, autobiographical perhaps, but either way it resonates with an authenticity that gives the movie a truly endearing edge. The kind of sideways glance you get from someone who’s caught your eye. You’ve had a taste of something, and you want more and more.

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Leigh has been forced to drop out of grad school and has been living at home nursing her sick, bedbound mother. Her life has been put on the backburner. A girlfriend, Dre (Chelsea Norment), offers temporary time out, via a house party, and Leigh returns the favour by inviting her on a camping trip, a break her mother is insisting she take. But Dre pulls out, and when Leigh inadvertently finds herself in the company of her neighbour and ex-boyfriend Cam she knee-jerk extends an invitation for Cam to fill the space.

Most of Pet Names takes place on the camping ground, just out of town, as Leigh and Cam navigate each other. There isn’t tension, only unresolved issues, old wounds. Cam, with his huge Anglo-Afro, and his pet pug Chato, is happy to spend time with Leigh, as they both share a similar sense of humour and quiet sense of adventure, but Leigh is wary of Cam. Leigh’s girlfriend slipped her some Burning Man leftover fungi, so there’s that to be had, along with a few bottles of whisky, and some of Cam’s pot. There’ll probably be tears before dawn.

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Like Andrea Arnold (Fish Tank, American Honey) Brandt shoots in 4:3 (standard) aspect ratio, shoots quickly, is adept at capturing the beauty of available light, and also favours a naturalistic style of performance that does wonders for subtlety of character. Pet Names – yes, they do reveal them – is a terrific vehicle for Meredith Johnston, and will certainly be the feature that gives Brandt the exposure and acclaim she deserves.

Pet Names isn’t as experimental or as dark and unpredictable as Bellflower, but there is something akin in its language, its wanderings, its sense of the absurd, its melancholy, its yearning. It rewards in similar ways. Definitely one of my favourite movies of the year.


Pet Names screens as part of the Revelation – Perth International Film Festival, Wednesday 11 July, 2.45pm (Luna), Friday 13 July, 12pm (Luna), Saturday 14 July, 9.15pm (Luna), and Monday 16 July, 8.30pm (Six).

For more information please visit the festival site here



That Summer/Grey Gardens


Sweden/Denmark/US and US | 2017 and 1975 | Directed by Göran Hugo Olsson and Albert & David Maysles

Logline: Two documentaries that feature the eccentric mother and daughter relatives of former US First Lady Jackie Onassis. 

One of the great direct cinema technique documentaries of the past fifty years, Grey Gardens is one of those strangely fascinating fly-on-the-wall portraits of eccentric people trapped in time and space. Crumb, the doco on artist Robert Crumb and his brothers is another that comes to mind. The Maysles brothers documentary about Big Edie and Little Edie holed-up in their decrepit East Hamptons mansion is the stuff of musty legend. Now, after more than forty years several reels of film have emerged that provide Grey Gardens with a wonderful prequel, a companion piece, just as endlessly watchable, in another documentary, titled That Summer, about what took place a few years earlier, that would lead to the Maysles making Grey Gardens


That Summer begins in 2016 with renowned photographer and collage artist Peter Beard, now an old man, discussing his life's work, as he leafs through one of his elaborate coffee table books. He reminisces about the attempt in 1972 to make a documentary with his close friend Lee Radziwill, the younger sister of Jacqueline Kennedy Onassis, who had spent their childhood amidst the dunes and bramble of Montauk, East Hampton, NY, chiefly at the residence of two socialites Edith Ewing Bouvier Beale (Big Edie) and her daughter Edith Bouvier Beale (Little Edie), the aunt and first cousin of the former US First Lady.


Big Edie was in her late 70s, Little Edie in her mid-50s. They had been living a reclusive existence in the Grey Gardens estate for decades. By the time Radziwill and Beard arrived, the mansion was infested with fleas, cats and raccoons, had no running water, and with garbage bags piling up in the cellar. It was filthy, and the Healthy Department were called in. But Radziwill and Jackie Onassis stepped in with funds to repair and stabilise the home, enough for the eccentric mother and even more eccentric daughter to continue to live there.


When Radziwill and Beard’s intended documentary was shelved, the Maysles brothers, who had been hired to camera operate, were given permission to come back and make their own documentary, focusing directly on the two Edies.

That Summer is a broader portrait, bringing into view such luminaries as Andy Warhol, who joined Beard and Radziwill on the vacation, surely one of the very rare occasions of the shy artist outside of Manhattan. Paul Morrisey, the legendary Factory director, is also glimpsed on the beach. But the 16mm footage, just four reels, is as revealing and personal and captivating as the observations in Grey Gardens. Little Edie is such a character, wrapped in her bizarre fashion, a scarf always over her head, as she dances here and there, a lost soul of sorts, once a striking teenage model who paraded the Grey Gardens lawn, who took it upon herself to become caretaker to her mother, burying any hope of romance and adventure.

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There is an inherent melancholy, a floating sadness, which permeates both films. The mother and daughter seem happy in their domestic routine, the lack of contact with the outside world has somehow shielded them from despair. Big Edie lapses into song, as she was once a gifted singer, with 78s to prove it, whilst Little Edie ruminates in the possibility of returning to the city cabaret scene. They live in a bubble, overgrown with bramble, the furniture riddled with decay.


These films are beautiful date stamps, the quality of light, the fashion and decor, the recollections, the memories. Somehow the stranger the people the closer we feel. Like moths drawn to a flame, we can't help but watch these pathetic, tragic figures as they flap and flounder, as they strut and pout. Beard's own diarist inclination, his penchant for collage, is a curious reflection of the haphazard lifestyle of the once glorious Edie duo. 

Hopefully one day these two exquisite documentaries will be combined in a special edition release, as they compliment each other perfectly. That Summer also highlights Beard's exceptional artistry, which is a good thing too, as I hadn’t been aware of his safari and glamour photography.


That Summer and Grey Gardens are as essential as iced tea on a hot summer lawn. 



Good Manners


As Boas Maneiras | Brazil/France | 2018 | Directed by Marco Dutra & Juliana Rojas

Logline: A lonely nurse, hired as a nanny by a wealthy pregnant woman, becomes involved in the fate of the woman and her unborn child.

Zombies, vampires, and ghosts are a dime a dozen in horror cinema, but for some reason there aren’t many werewolf flicks, and even fewer ones with a good bite. I have a soft furry spot for a decent lycanthropy tale, and at this year’s Sydney Film Festival, in my favourite "Freak Me Out" section is a co-production, co-directed and co-written by a pair who have been collaborating for many years, that tells the bristling, shaggy tale of an unlikely romance, the birth of a particularly bitey baby, and the tenuous motherhood that followed.

It’s a hairy tail, er, I mean a fairy tale, but it is filled with much darkness and heartbreak, sadness and despair, and ends on a sharp note. 


Ana (Marjorie Estiano) is pregnant and on her own. But she is affluent. She lives in a large plush apartment. She is looking for a nanny, and ends up hiring Clara (Isabél Zuaa), who is obviously desperate, but possesses a soothing touch. The two women are worlds apart, but a bond is ignited, and love is made. But there is something in the flow of the night that is troubling Ana. The doctor orders she abstain from eating meat. Each month when Luna is full and her glow is ripe, Ana sleepwalks and lowers the stray cat population. Clara is very worried.


Fabricated like a children’s dark storybook (even with a beautifully illustrated sequence), with striking faces, sumptuous, stylized cityscape shots that suggest they’ve been painted rather than filmed, Good Manners is a fable about unconditional love, about human and animal nature, and about acceptance and resilience in the face of menace and danger. It’s a tale of fate’s cruel hunger, but it’s a little long in the tooth.


But this movie definitely needs a haircut. At least twenty minutes shorn would give it more growl to its snarl. Still, it’s a captivating story, and even surprised me to where it was going. I was sure the local priest was going to make an appearance and a long-lost connection, but I digress …

Fangtastic performances (okay, okay, I’ll stop with the terrible puns) from the key cast, especially Marjorie Estiano, who provides the movie with much sensuality and humour, while Isabél Zuaa’s poker face through most of the craziness must be noted. The cinematography is excellent, as is the special effects, in particular the clever meld of practical and CGI for Joel (Miguel Lobo – yes, Lobo) in werewolf form, a truly original and endearing look, if lycanthropes can dare to be cute, yet dangerous.


Good Manners falls short of being a werewolf cult classic (let’s face it, they’ve only ever had cult followings) mostly due to the second half taking too long (we didn’t need the full-blown ballad performance late in the piece), and for not actually showing a proper transformation (de rigour), but Dutra and Rojas have cultivated a very decent entry into the sub-genre's lore with its own distinct, bittersweet lupine scent.

It’s the certainly the most unusual family drama of the year, I'll give it that. 





US | 2017 | Directed by Nicolas Pesce

Logline: A rookie serial killer sets up in a hotel room with his next murder rehearsed only to find himself in over his head after his intended victim upsets his plans. 

Based on the novel of the same name by Japanese author and filmmaker Ryū Murakami, Nicolas Pesce takes the guts of the book, the sadomasochistic proclivities, sexual anguish, intense neurosis, acute anxiety, and exquisite agony, and fashions an utterly gorgeous and deliberately frustrating paean to the giallo movies of the late 70s/early 80s, especially the work of Dario Argento. It’s hard candy for cinephiles, and for anyone else, it’s likely to leave a sour taste in the mouth. 

Reed (Christopher Abbott) is a man on the edge of the abyss. Married to lovely Mona (Laia Costa), they have an infant child, and live in an apartment in what feels like a vaguely alternate universe New York (or maybe it’s Nu-TokYo-rk). Reed is struggling with the diabolical urge to stab his baby boy with an ice pick. His wife seems none the wiser to her husband’s inner turmoil. Reed leaves on a “business trip” and sets up murder shop in a hotel, meticulously rehearsing his obsessive homicidal desires. His little red book is full of notes. But the first glitch arrives, as his arranged hooker is not available. Reed accepts the substitute, Jackie (Mia Wasikowska), who arrives, demands a stiff drink, briefly masturbates, and then excuses herself to take a long shower.


Reed’s perfectly planned murder set piece is not going quite to plan. But it’s going to get a lot more askew - and fuck more painful - before the night is through.


One could view Piercing as a kind of psychosexual chamber piece. Essentially a two-hander, and almost entirely set in just three rooms; the Reed apartment, Reed’s hotel room, and Jackie’s apartment, with the single exterior scene outside a hospital looking more like a set, and the cityscape montage that bookends the movie utilizing miniatures, Piercing is a blackly comic (oh, so dark) study of deviance and duplicity that could easily have fallen into the trappings and limitations of filmed theatre, but with Pesce’s precise command of mise-en-scene (including split-screen), profondo rosso cinematography, and heavily stylised production design, the inherent claustrophobia is hardly apparent.


Superb performances from Abbott and Wasikowska (easily my fave of hers) as protagonist/antagonist/nemesis intertwined. Costa (who was terrific as the lead in Victoria, but in a small role here) plays perfect soft warm counterpart to the cold façades of Reed and Jackie, and a nod must be made to Maria Dizzia as Reed’s first victim. Also excellent is the special effects makeup from Michael Marino and Michael Fontaine (even if we didn’t get the final money shot we were expecting!)


The entirely retro-sourced soundtrack is a curious one, with its dubious inclusion of several well-known cult classic cues from Argento’s Deep Red (during Jackie’s initial cab ride) and Tenebre (over the end credits), whilst several Bruno Nicolai pieces are used throughout. Of course these pieces of music sound fabulous, but in the new context, for those familiar with them, they become distracting. I’m reminded of Tarantino’s use of Moroder & Bowie’s Cat People in Inglorious Basterds, which rubbed me up the wrong way. But I’m nitpicking, as Piercing definitely delivers – and teases wickedly – in macabre delight, it’s likely to be one of my year’s favourites. 



Denmark/Netherlands/Sweden | 2018 | Directed by Isabella Eklöf

Logline: Whilst vacationing with a group of drug dealing criminals a young woman finds herself attracted to a holidaying stranger and creates dangerous turmoil.  

Sascha (Victoria Carmen Sonne) is the girlfriend of Michael (Lai Yde), a handsome and extremely arrogant wannabe drug lord. With his criminal cohorts they are Danes on holiday in Turkey, on the Riveria coastline, soaking up the rays by the villa pool and on the beach, patronising the bars and restaurants, and acting like they own the place. There is still business to be attended to, jewellery to be bought, and samples of high grade MDMA to be tried and tested. 

Sascha has already been reprimanded by one of Michael’s associates. Violence, both the threat of it, and the enforcing of underworld etiquette, is part and parcel with this lifestyle. It becomes quickly apparent that Sascha is numb to the abuse. Her place in the hierarchy is set in stone, and she must simply endure, if she wishes to continue to enjoy the lifestyle luxuries the criminal realm includes. But behind her eyes lies a yearning for more power.


Dutch Thomas (Thijs Römer) and his buddy are also on vacation on the Riveria, their yacht moored at the marina. The two men cross paths with Sascha at an ice cream parlour, and she and Thomas immediately strike up a flirtatious rapport. Later, Sascha spots the men dining at the same restaurant and chats with them, away from Michael and his clan. Michael has taken note of his trophy girlfriend’s discretions.


In a highly controversial scene halfway through the movie, and seemingly out of nowhere, Michael turns a relaxed affectionate moment with Sascha into a brutal display of power, violating and humiliating her. It is very explicit and graphic, as disturbing in its realism as it is shocking in its candidness. Even more confronting is how Sascha internalises the incident. A quiet rage coils inside her. It is an incredibly brave and delicate performance from Sonne, as well as a superbly menacing one from Yde.


But Holiday doesn’t become a revenge movie, though is it a study of violence. It is ultimately an observation, and a harrowing one at that, of the ghastly glamour bruising of the gangster underworld. How naïveté can lead to co-dependence, a kind of Stockholm Syndrome at play, how corruption can operate on an insular level.


Sascha’s passivity eventually gives way in the most horrendous, appalling way. It frustrates, and yet, provides the narrative with a darkly satisfying resolve. It’s not what you want, it’s not what you expect, but it makes terrible sense. Sascha’s moral arc has an inexorable beauty as desolate as the ocean view, as wretched as her submission to Michael.

Holiday is not for everyone, it has the uncompromising, savage, and realistic edge of Gaspar Noe’s Irreversible, with the cold precise vibe of Ulrich Seidl and Michael Haneke, and the beautifully sustained tension and release of Nicolas Winding Refn’s Pusher trilogy. Eklöf, with her debut feature, has delivered one of the year’s most resonant and remarkable films indeed, and one guaranteed to polarise.  


Holiday is screening as part of the 65th Sydney Film Festival, Friday 8th June, 8:30pm at Dendy Newtown, and Sunday 10th June, 6:45pm at Event Cinema 9 George St.

Holiday is screening as part of 21st Revelation Perth International Film Festival, Sunday 8th July, 8:45pm, Saturday 14th July, 2:30pm, and Sunday 15th July, 7:15pm, all at Luna Leederville.








US | 2018 | Directed by Ari Aster

Logline: When the grandmother dies, the daughter’s family begins to experience increasingly bizarre and alarming secrets about their ancestry.

Employing a narrative slow burn, drenched in foreboding, dripping with dread, this supernatural tale of the disintegration of a scarred and vulnerable family is the most genuinely nightmarish horror movie in ages. Conjuring the atmospheric intensity from the best of the 70s, and, more importantly, armed with the tenebrous resolve that makes other acclaimed contemporary films, such as The Conjuring and The Babadook, far less the kind of horror movies that True Believers herald, this horror movie projects a darkness that sears holes. 

The Graham family is gripped with solemnity. The matriarchal grandmother has passed away and left all kinds of trouble brewing. Her daughter Annie (Toni Colette) is struggling with her career art in miniatures, whilst keeping her demons locked away. Her husband, Steve (Gabriel Byrne) does his best to keep the family harmonious, but the cracks are showing. Peter (Alex Wolff), the elder offspring, wants only to live like a normal teenager, while his oddball younger sister Charlie (Milly Shapiro) is harbouring an even deeper resentment.


What begins as a domestic drama riddled with dysfunctional behaviour soon unravels into a full-blown phantasm of hellish ancestral vice. Burnt offerings aren’t the half of it, this has third degree witchery blistering in its intent. Hereditary lays out a two-hour master class (or close to it) in horror suspense and execution. Colette delivers a central career best performance, while Wolff, newcomer Shapiro, and Ann Dowd as a spiritualist, offer excellent support. Byrne is solid also. Both Colette and Byrne serve as executive producers.


I take my hat off to composer Colin Stetson (who co-scored the excellent Blue Caprice from a few years back) who delivers an absolutely terrific soundtrack utilising classic style cues and contemporary minimalist sound design technique. Writer/director Aster also knows when to keep the scene quiet, and it works a darkly oneiric treat.


This is Aster’s debut feature after a run of short films, and he showcases a superb understanding of how the best horror movies unfold, operate, and manipulate. Without once pandering to the conventional jump scare tactics or red herrings so frequently used in popular cinema, Aster opts for the creeping unknown, laying down subtleties, slyly twisting the narrative screws, providing the audience with characters who are very convincing and empathetic. There’s a particularly shocking and disturbing death in the movie’s first act, the harrowing circumstances of which continues to linger long after the end credits have left the screen.


By cleverly molding a mainstream approach to esoteric material Aster takes the key element that made Paranormal Activity 3 the best of that series and presents a disturbing instant classic. Horror movies of this calibre don’t come around very often. One must savour the strange and macabre ingredients  and relish them as a witch would stirring and tasting her own spooky brew. If you loved Oz Perkins' February, you'll definitely get a black magic kick from Hereditary

It’s hard in this day and age for movies to survive the hype machine. Hereditary has been riding on a massive crest of acclaim, being compared to such seminal fare as The Exorcist. I went into the screening with expectations in check, having not even seen the teaser trailer. The movie deserves all the praise it gets. For me Hereditary ticks almost all the boxes, much more so than other recent horror darlings A Quiet Place and The Witch, and as a horrorphile I have a lot of boxes. Apparently Aster doesn't consider himself a horror director, is even turning down the big bucks from Hollywood, but I surely hope he makes another. And another.



A Quiet Place


US | 2018 | Directed by John Krasinski

Logline: In a decimated near-future a lone family must try to survive ferocious alien creatures who hunt using acute hearing. 

Another in the recent trend of what are referred to as “elevated horror” movies, where social metaphor or a social-political context is used as a subtextual commentary to lift what is considered to be a base genre. Generally I don’t have time for this kind of pseudo-soapbox rationale, just deliver us a great horror movie that either terrifies its audience, or horrifies its audience, or, even better, does both. In the case of this spare and concise tale of extraordinary parenthood, the bar has been raised to a decent height, even if I do have a few issues with the writing.

The Abbott family; Lee (John Krasinski), wife Evelyn (Emily Blunt), deaf teenager Regan (Millicent Simmonds), sickly son Marcus (Noah Jupe), and youngest, Beau (Cade Woodward) travel, barefoot, and in silent conversation, from township to township, each one derelict. They pick up supplies, and make their way to an abandoned farmhouse where they plan to set up camp for awhile. The world has been invaded by huge, crustacean-like extra-terrestrial beasts that are blind, but hunt relentlessly by using massive, acute earholes, and sport mouths full of razor-sharp teeth. To describe these creatures as frightening is an understatement. 


Tragedy strikes, and the family are burdened with grief. But Evelyn is pregnant, and Lee is determined to develop a hearing device for his daughter that works. They are survivalists, pragmatic and smart. But the alien menace are a formidable and constant threat. Lee has determined that there are three of the creatures roaming in their immediate vicinity, and in order for the family to stay alive, they must follow strict rules, and adhere to the survival tactic of making no noise louder than that which nature makes. 


But there’s always room for human error. 

The rather gimmicky premise is by screenwriters Scott Beck and Bryan Woods, with additional scripting by Krasinski, directing his third feature, with his wife of eight years, Blunt, playing opposite him for the first time. The screenplay is taut, with almost no spoken dialogue - the narrative is facilitated by the use of American Sign Language, but there are a few glaring inconsistencies that threatened to derail the movie; such as the alien beasts’ ability to move at lightning speed out of seemingly nowhere following a loud sound, yet with their highly developed ears, they can’t detect smaller, quieter sounds? I didn’t buy into that. 


There is a crucial scene, and arguably the movie’s most tense and frightening sequence, when Evelyn, about to give birth, and with a badly injured foot, is desperately trying to hide from one of the creatures, which is steadily closing in. The outcome of this scene illicited a few unintentional guffaws in the audience I was in - including me - as it was fairly absurd. What aggravated it was that Krasinski has directed a high-concept movie with as much plausibility as possible that it becomes gratingly earnest, and the ending of this scene almost scuttles the movie. 


A Quiet Place is, essentially, a take on the plight of parenthood, the underlying intent to teach and protect, and the inherent dilemma of what would it take to ensure your children’s safety. The production values are very high, with excellent special effects, superb performances, especially Blunt and newcomer Simmonds (who is actually deaf). I’m not sure about the score, as good as it is in isolation, the use of it felt heavy-handed, especially in such a movie, where silence is imperative. The now de rigour use of deep, brooding drones has become part-and-parcel for eliciting dread. Yes, it sounds impressive on a sonic level, but its use as narrative ploy has become corny.


Quibbles aside A Quiet Place is a riveting science fiction horror-thriller with several excellent set-pieces, and a pretty cool - Get Out-style - ending. The movie will certainly appeal to audiences who normally wouldn’t watch science fiction horror. But I'm still aching for a new horror movie to really raise the bar. 

Despite The Gods


Australia | 2012 | Directed by Penny Vosniak

Logline: A documentary following the difficult journey of an American filmmaker trying to make an arthouse thriller with Bollywood financing. 

Australian filmmaker Penny Vosniak’s casual observation of Jennifer Lynch directing a creature feature in India is innately fascinating, and quietly entertaining, revealing a very down-to-Earth, emotionally fragile, yet genuinely passionate filmmaker, who just happens to have a world-renowned, cult-classic director for a father.

Jennifer Lynch wrote her first feature, Boxing Helena, at the tender age of 19. She was encouraged to direct it, but the movie was ridiculed by harsh critics, and an even crueller public. The movie, a modern fairy tale that Lynch had intended as a blackly comic, dark romantic fantasy, but which many audiences and critics took seriously, tanked at the box office, and ended up on more Worst Movie lists than you shake a severed arm at. 


After a fifteen year hiatus, her second feature, Surveillance (2008) earned her a Best Movie award at a European film festival, the encouraging news of which she got whilst on the set of her third movie, Nagin: The Snake Goddess (released in 2010 as Hisss), in the sweltering heat and chaos of India, alongside her adolescent daughter, Sydney. 


Lynch has described the experience of directing the movie as like a clusterfuck of cooks in the kitchen, or thereabouts. Funded almost entirely with Bollywood finances (the production had to be filmed using dual English and Hindi language takes), with two many fingers in the pie, her father’s maverick traits came back to bite her on the arse when the frustrated Indian executive producers, unhappy with her artistic deliverance, pushed their weight around and wrenched the movie from her control in the editing suite. It was re-cut to try and make it more of a conventional horror movie, and subsequently Jennifer publicly distanced herself from the movie.


For a movie supposedly costing $6 million, the day-to-day filming on location appeared to be more like a guerrilla set-up. No doubt the buxom Bollywood star, Mallika Sherawat, would have come with a tidy fee, and no doubt special effects whiz Robert Kurtzman wouldn’t have come cheaply either, but the CGI looks dodgy, and no doubt Jennifer’s subtleties of mood and tone all ended up on the cutting room floor. It’s a real shame, as I doubt we’ll ever get the opportunity of seeing a director’s cut. 

Where the documentary becomes especially interesting is the close attention it pays to the relationship between the frustrated 40-year-old single mother, who yearns for a partner, and her precocious 12-year-old daughter, who is endearing, but is driving the line producer barmy. Jennifer leans on her daughter for emotional support, and one of the crew jibes that he can’t tell who is the daughter and who is the mother. Jennifer rolls her eyes. 


Despite the Gods covers the entire eight-month Indian shoot, from the dry season to the wet season, with all the dust, bugs, monsoons, exotic customs and rituals, union strikes, language barriers, and scheduling delays in-between. Jennifer was endeavouring to make a movie that empowered women, that juggled humanity and inhumanity, that championed female sensuality, carnal ferocity, and embraced Far Eastern mythology, and the serpentine grip of the supernatural. What she got for her troubles was a seemingly never-ending headache, and the heart aching toll of having your art stolen from you. But, inadvertently, she got to conquer some inner demons as well.


At doco’s end, four years after production ended, a pink-dreadlocked Jennifer sits with her now 17-year-old daughter (who still looks the same!) and Jim, the man who saved her from going insane during the tail end of her exotic rollercoaster ride. Yet Jennifer has long accepted the emotional and psychological bruising of that experience and she wouldn’t trade it for anything. She’d even go back and do it again, and while she’d change a few of her decisions, she’d also make many of the same mistakes again. 

And therein lies the coil of The Creative Rub.



France/West Germany | 1981 | Directed by Andrezj Zulawski

Logline: A man returns home to find his wife acting strangely, demanding divorce, and driving the husband to discover what is causing her bizarre behaviour.

“We have nothing to fear, except God, whatever that means to you.”

“For me, God is a disease.”

“That’s why through disease we can reach God.”

Cold Berlin. Mark (Sam Neill) is a spy returning from an assignment. He is debriefed and arrives home to find that all is not well on the domestic front. His wife, Anna (Isabelle Adjani), is no longer the woman he once knew. Infidelity is the culprit, and a distraught Sam searches out his wife’s lover. He finds Heinrich (Heinz Bennett), a sensual neo-hippie spouting intellectual diatribes. But Heinrich insists Anna has moved on from him to someone else.


This is true, she has progressed (regressed?) to another tryst - but no ordinary lover, something otherworldly; a slimy squid-like creature that writhes with silent intent, inexplicably born from her anguish, which she now copulates with at regular intervals in a derelict apartment building. Anna is driven to protect and feed her hideous lover at all costs.

Mark tries in vain to save the marriage, for their young son, Bob (Michael Hogben), if nothing else. But Anna is distant, impulsive, and volatile. In turn Mark becomes desperate, obsessed, reckless. He hires a private investigator, which only complicates matters, and becomes involved with Bob’s schoolteacher, Helen (Adjani also), who looks the spitting image of his wife, except for violet eyes, bangs, and temperament. Soon Mark will be confronted with Anna’s deadly secret, her tenebrous agenda, and it will be his worst nightmare, where sanity, reality, and inhumanity will collide.


Director Andrzej Zulawski pitched Possession to Hollywood as “The story of a woman who fucks an octopus.” After watching the movie, with all its horror symbolism, relationship allegory, sexual ambiguity, identity confusion, and supernatural, science fiction mysticism, you’ll agree with Zulawski’s obtuse and ironic sense of humour as presented to the Tinseltown conservatives.

Zulawski, who is Polish, made the movie as a French/West German co-production. The American financiers would never understand his abstract, artistic intent. In fact the US distributor ended up radically re-editing the original cut, excising between thirty and forty minutes, re-scoring it with another composer, and adding a solarising filter effect over some of the movie’s climactic scenes, in order to try and market it to a broader American horror audience. It was even re-released in the States under the grindhousey title The Night the Screaming Stops.


Primarily, Possession is about the breakdown of a marriage, about manipulation and self-control (or lack, thereof). But embroiled with this deconstruction of a once loving, now destructive relationship, are the insidious tendrils of betrayal and corruption; emotional, physiological, even theological. There’s the psychotherapeutic thread of releasing one’s inner Id, the black dog of male physical inadequacy, the wrath of female emotional instability, and the cruel trial of separation and abandonment.

And then there’s the apocalyptic, ultimate nightmarish fear of children – that your parents are not really your parents.


The pitch and tone of the movie veers from intense anxiety to outright hysteria, with little room to breathe in between. Adjani won the Palm D’Or for Best Actress, and it is an undeniably mercurial and memorable performance (Adjani admitted it took years for her to recover from the role). Sam Neill was not the most convincing actor as a younger man, but he throws himself into the role with wild gusto, and is supported (eclipsed) by Adjani’s dual high-calibre deliverance, and offset by the flamboyant histrionics of German actor Heinz Bennett.


But it’s not just the unusual and original subject matter coupled with the ripe, overtly theatrical performances that gives Possession its je ne sais quoi, it’s the clean fluidity of the camerawork, the serene blue – melancholy – and green – jealousy – cinematography (an influence on Dario Argento’s Tenebre), the desolate West Berlin setting, and, of course, Carlo Rambaldi’s repulsive, ingenious animatronic creature effects, which stick in the mind long after the movie has finished. Indeed, utterly distinct, and utterly unique.


Just as David Lynch has made enigmatic movies that seem impenetrable on first watch, but after multiple viewings became endlessly fascinating, serving up ideas and questions in different guises, with no straight, easy answers - or even answers at all, Zulawski’s Possession is a beast unto itself, a mutant depiction of domestic upheaval, creature horror, loss of faith, and frightening doppelgängers, all wrapped up in an escalating/spiraling frenzy of pursuit and cosmic revelation… with pink-socked espionage to boot.

Flawed like a diamond cut from dark space, borne from bitterness, misery, lust and madness, it seethes and lurches, and makes huge demands of the viewer, but Possession rewards in ways only a truly philosophical, yet powerfully visceral, movie can.

“Almost… Almost…”