Day 3 of Halloween in December is here, and this film is not quite what most would describe as a “horror” film, but it definitely has some of its elements. It Comes at Night isn’t quite what one would expect, especially if you’ve only seen its promotional material. No, this film really is something different from the pack, even among other psychological thrillers.Continue reading
For December, I had an idea to watch a horror film every day for a movie marathon I’ve dubbed “Halloween in December”, as a sort of play on the Nightmare Before Christmas. I came up with a list of films to watch for every day of December, and first up is Neil Jordan’s Interview with the Vampire. For clarity, the majority of these entries won’t be full reviews, but rather a collection of thoughts in most cases.Continue reading
Since the beginning of the pandemic, Netflix has become a larger venue of releasing films outside of theaters. More recently, that has included I’m Thinking Of Ending Things, one of my favorites of the year thus far. This has also given window to a number of Netflix exclusive films to come out with a bit more attention to them, including this one, titled Mother and directed by Tatsushi Ohmori. Given how the year has shaped up, it’s been a prime window for films to get an online release and receive plenty of attention, so how does this hold up?Continue reading
Given the upcoming slew of holiday dramas, romantic comedies, and more, I’ve had a lot of thoughts on an issue facing the majority of them: the lack of meaningful drama. Granted, the purpose of these romcoms is to not push the edge and to make some guaranteed cash around the holiday season, especially in North America where holiday struggles are a nearly universal experience for people. So, theme perhaps made more tangential, what is it that makes a good drama?Continue reading
Billed as an “arthouse horror” film, The Lodge (2019) certainly puts forth the effort of Severin Fiala and Veronika Franz. However, while the film has its merits, it certainly falls short of doing anything spectacular, even though it still has its moments and redeeming qualities. Why did this film fall short in comparison to instant classics like Ari Aster’s Hereditary and Midsommar, or Robert Egger’s The Witch? Let’s explore.