ozyhmandias792 Reviews

The Killing of a Sacred Deer (2017)

"Don't forget to water the plants"

[7/10 · 18 January 2018]

If one assumes that the goal of Surrealism is to access a hidden, particular dimension beneath the ordinary, then it can be said that this movie goes the exact opposite way : it overshadows and hints to something superior and transcendent beyond the commonly known reality. An evident climax in the plot can justify this opinion : as the movie develops, the Murphy family witnesses increasingly disturbing accidents to its members which bring to a pathological degeneration of the (already unnaturally cold) domestic atmosphere. These accidents are effects produced by an inscrutable Cause, which represents the mysterious and untraceable narrative core of the whole movie. This transcendent element can be identified in the concept of Retribution, that is a bitter idea of justice. This metaphysical entity tragically appears on Earth through the enigmatic medium of Martin, a troubled young man whose obsession for the Murphy family grows exponentially dangerous. To be honest, the plot provides convincing clues and more than enough evidence in order to give a psychological explanation to Martin's behaviour : his father's death during a surgical procedure performed by Dr. Murphy leads to a logical replacement of the two fatherly figures; this fact will later be confirmed by the unorthodox offer of his own mother's favours to Dr. Murphy. But analysing the movie through this lens doesn't seem appropriate. It would be better to follow a supernatural interpretation which enables to observe some truly fascinating traits. First of all, the title itself suggests something otherworldly and mythic : this clear indication should not go unnoticed. The theme of Disease is central : both the Murphys are doctors, the incomprehensible punishments their children suffer because of Martin are all of pathological nature and, because of the way they are announced (almost prophetically) by the boy, they somehow remind of divine plagues. And this same divine presence, clearly perceivable in the slow motion ending scene with sacred chants in the background, can lead to a critical reflection on the role of doctors in this modern society. It can be said without a doubt that these people actually happen to find themselves in the daily position to determine or choose between Life and Death. Their technical knowledge is so vast and different from the common practical culture of us mortals that all there is left to do is listen to them as helpless disciples to the revelations of biblical wisemen. But here comes Retribution : by inflicting such catastrophic tortures to the innocent children, Martin (I might call him the Hand of Retribution) operates one more substitution, that is turning the doctors (gods) into patients (victims), letting them have a bitter taste of devouring impotence, for a change. I am sure that much more could be written about this surprising movie (I am thinking, for instance, of the illusory equation : mechanical routine = domestic peace that seems to be the rule at the beginning ("Don't forget to water the plants")) but all I have left to say, in conclusion, is that I have immensely appreciated this mesmerising work and surely will not waste any opportunity in the future to watch it again.

Star Wars: Episode VIII - The Last Jedi (2017)

Don't waste your time, remember Star Wars as it was.

[4/10 · 16 December 2017]

I might have thought "The Force Awakens" was slightly disappointing when I first saw it. Well, I must change my mind. From the unfortunate perspective of a viewer of "The Last Jedi", I feel obliged to reconsider my previous opinion. The first movie of this unnecessary postmodern Star Wars trilogy seems like a masterpiece if compared to the absolute tragedy of the last chapter. Cheap humor? Incoherent dialogs? Clichés? What happened to Star Wars, the innovative, mindblowing, legendary franchise that made poeple dream, shiver and sigh? Nothing more than the mere name survives. The authentic vibe of the old trilogies is now so irremediably lost under a pile of easily sellable garbage, that not even a miraculous change in the next chapter could bring it back to life. Which is bitterly ironic, considering that the only purpose "The Last Jedi" seems to be aiming to is to live shamefully in the light of the six glorious prequels (yes, even "The Phantom Menace"). On a less sentimental ground, I must add that, incredibly, the plot of this new movie does not add anything new or meaningful to Chapter VII. The only substantially unexpected events (Snoke's death and Luke's poetic dissolution into the Force) are, but I am not even surprised anymore, treated without the necessary emphasis or the dramatic touch that these moments need. On the other hand, useless characters (I am referring to those played by Laura Dern and Benicio Del Toro) and CGI monstrosities (crystal foxes, screaming penguin/hamsters or whatever they are) spend way too much time on the screen. And then one last, unforgivable error : Yoda. Why did they have to use the grotesque, puppet-like figure of the Jedi master which appeared in the first trilogy, while the little green hero as portrayed in the second one was a renowned success worthy of imitation? There are too many questions to be answered regarding this movie, while in the past the only one was : "when will I watch the next chapter of Star Wars?". Today, I don't even want to know if and when Chapter IX will be out. My conclusion is deeply pessimistic and personally surprising :one can undoubtedly say these last two movies were ineffective and trivial, but they did have at least a relevant effect, that is killing the most perfect science fiction saga of all time.

It (I) (2017)

Grey Waters

[6/10 · 28 September 2017]

Mediocre remake. I am aware that the gross earnings say otherwise, but there is honestly no way around it : the original 1990 movie was much, much better. Let's try to motivate my judgment. 1) In the first movie they at least tried to stick to the interconnected past-future narrative technique that King himself chose for the book. This deserves appreciation. I can only imagine how hard it must have been to adapt the plot. 2) The overall atmosphere was much more dramatic back then, when they did not need to fill dead time with sad jokes. 3) Rhythm, the great unknown. I have been, literally, bored to death for the whole movie. There is no space between scenes, everything happens without interruptions in a continuous stream of low quality "action". However, there are some (just a few) bright sides. This time it was successfully underscored how the kids are long time friends, almost accomplices, in spite of how old they really are (it is never mentioned, though being their very young age quite important), without too much emphasis on the "team spirit" cliché. Also, Finn Wolfhard (Richie), as already seen in "Stranger Things", and Sophia Lillis (Bev) gave amazing performances; I hope to see these two again in the future.

A Cure for Wellness (2016)

A creepy fairy-tale

[7/10 · 8 June 2017]

I chose to watch this movie mainly because Gore Verbinski was the director and, remembering "The Ring", I knew it would at least be an entertaining experience. I was right. The plot is really remarkable and somehow reminded of "Shutter Island", an unforgettable movie of which I never thought I'd see the like again. The choice of the actors ended up being extremely adequate : I could think of no one better than Jason Isaacs for the mastermind of a diabolical institution. Furthermore, this movie made me discover two talented young actors, Dane DeHaan (whose hallucinated face I remembered from Metallica's "Through the Never") and the charming Mia Goth. I must admit my impression regarding "A Cure for Wellness" is mainly but not entirely positive. Two thirds of the movie delighted me immensely, but the final sequence felt disappointing, perhaps over the line. The final scene, as well, arises more doubts than answers on Lockhart's condition (both physical and psychic).

My recommendation for the viewers is : watch this interesting product with caution but do not expect too much from the end.

Rings (2017)

Samara Is Back

[7/10 · 5 June 2017]

Yes, the spooky little girl from our past is back, and so is her famous curse. What should we think about it? Those who did not expect a sequel spent the last fifteen years watching over and over again the first two chapters of the legendary horror duology. Those who expected this movie were very few in number : I couldn't say I ever thought of a sequel to "The Ring" until I saw the trailer of "Rings"; I shared the skepticism of many critics, being absolutely convinced that nothing more could be genuinely added to the story. I must admit I was wrong. This movie surprised me. In spite of what many may think regarding the making of sequels, it is not a simple job. In order to create a decent sequel, in my opinion, there must be two essential "ingredients" : the insertion of the sequel itself inside the atmosphere of its ancestors and, of course, the addition of innovative but coherent elements. The first goal has been accomplished more than successfully and I believe this is the feature of the movie we should all admire and appreciate the most. I must repeat myself : it was not an easy task to recreate the unique atmosphere of "The Ring". The soundtracks, the actors, the peculiar cold blue/green tones of the lights, the rainy landscapes, the dark urban images : they were all carefully chosen to, so to speak, "summon the spirit" of a perfect movie that our memories considered peacefully gone and maybe forgotten. The effect is remarkable : (I should probably write "spoiler alert" here) the Rebirth of a franchise whose physiological death we all accepted a long time ago. This aspect should be properly taken into consideration before criticizing nonsense such as the lack of "scare factor" : this poor argument is not relevant with "Rings" just like it never has been with "The Ring" or its sequel. The only point on which I agree with the most merciless critics is the conservatory character of this movie : not much new has been added to the story and the plot itself shows signs of fragility at given times. A proof of this excessive caution of the authors can be clearly heard in the soundtrack, which is substantially unchanged from "The Ring"'s one. But this last observation is weak : how can we expect any composer to do better than the divine Hans Zimmer?

My conclusion is : this movie is not "a waste of time" and must be watched in order to enrich the experience of the previous two chapters. Please, enjoy without silly prejudices.

Doctor Strange (2016)

Yet another Marvel experiment

[5/10 · 16 February 2017]

I did not think possible that Marvel Studios would re-propose another example of empty movie, devoid of any plot, filled with kaleidoscopic CGI : but here we are.

There were times in which movies concerning superheroes were inspiring; one watched them at found it pleasant to "rewatch" them over and over in their mind, to speculate about them with stimulated fantasy.

Those days are gone. I've spent too many hours watching motion pictures that are not worth anyone's time : I am referring to Iron Man 2 and 3, Thor 2, C. America 2, The Avengers 2, Guardians of the Galaxy. And now Doctor Strange as well.

I appeal to the readers memory for a comparison : does anyone remember Iron Man (2008, Jon Favreau)? Was it necessary to ruin every minute of that movie with senseless fights? Did the writers deem it mandatory to accelerate the story ignoring logical passages? Was "Iron Man"'s only purpose to prepare the ground for an unwanted sequel? Of course not. And what do we have? A complete movie, entertaining and funny, inspiring and meanwhile full of action, and more importantly, an intellectually interesting experience.

"Doctor Strange" is the opposite of all that. Too many side characters, too much "noise" : where's the true story? And the way he confronts the monstrous villain (the only moment the audience could have been actually interested in) : grotesque.

The CGI is so evident and ever-present one could almost say it's the only true protagonist of the motion picture. The visual effects are often remarkable, but one wonders if they are always necessary and proportionate to the scenes they are located in.

Just like the whole new superheroes saga : did we really need it?

The Blackcoat's Daughter (I) (2015)

Mesmerising

[6/10 · 12 February 2017]

Much appreciated. Sophisticated and subtle. Great job in the sound department.

Those who have not witnessed Kiernan Shipka's talent in "Mad Men" will surely find here some convincing material to make up their minds. The other two main actresses were also remarkable, however for exclusively aesthetic reasons, I must add.

Concerning the plot, I believe it is important to emphasize its non linear nature : a key element to reconstruct the overall "Stimmung".

I must criticize the trailer, despite having been convinced by it to approach the movie in the first place; the allusions to "erotic charge" are deeply misleading and cast a negative influence on the viewers, distracting them from the main, yet hidden, theme of the movie : the Occult. I rarely experienced a more discrete and effectively symbolic handling of such a complicated and debated matter. The way the Occult's first appearance on the scene is connected to the principal plot twist is also deeply satisfying. The final scenes also need to be focused on : they both bring the missing pieces in the plot and offer an open, surprising end.

My only critic would regard the excessive abundance of implicit hermeticism : some traits of the story could and should have been properly expanded (Kat's parents, some more details about Rose, a more complete view of the boarding school, the true origins of Kat's "sickness", just to make a few examples).

Arrival (II) (2016)

Odd but Fascinating Circularity

[6/10 · 11 February 2017]

I believe "Arrival" attracts a very specific portion of public; the group I have in mind comprehends sci-fi fans, of course, but also includes "skeptical" viewers. By that I mean those who are vaguely interested in the indefinite flavor of Curiosity which derives from mysterious or catastrophic movies.

The movie, being meant for these two categories, presents a bipartite content : partially, it portrays the classic elements of science fiction (meeting with the Unknown, interaction with it, subsequent change in the protagonist's life). Furthermore, "Arrival" presents wider themes: Love, Destiny, Acceptance.

This hybrid nature catches the attention of both kinds of typical viewers, but for different reasons; sci-fi fans might be on the search for intergalactic conflicts, time travel, display of alien technology. The neutral viewers, instead, are presumably interested in witnessing hypothetical apocalyptic scenarios and the personal development of the characters. Well, they both get a taste of what they seek. "Arrival" is in fact a rich plate which satiates every kind of appetite and leaves no complaints behind.

The true question however is : is this fictional hunger fully and completely satisfied? The answer is a matter of opinions; mine is negative. The picturesque alien race isn't clearly and exhaustively described or disclosed, as well as their final inscrutable purposes; I believe others in the audience share my same desire to know more of these mighty "heptapods". But I guess that was the goal of the authors; if so, mission accomplished.

The Autopsy of Jane Doe (2016)

Intense Stuff

[7/10 · 11 February 2017]

Watched this movie per chance and I did not regret it. However, I believe a big opportunity has been wasted here. The first half is honestly perfect; the setting is suggestive, the characters are both interesting and disquieting, the rhythm of the events is slow but regular. A positive climax. Then something huge happens (the viewers will know what I am referring to) and, instead of proceeding with the same discretely thrilling vibe, the subject changes abruptly, along with the overall atmosphere and the nature of the movie itself. My accuse is precisely directed towards a certain episode involving Austin's girlfriend : why insert it in a coherent plot? It appears completely unrelated and has no relevant consequences after its occurrence. A second attack goes against the meaning of the ending sequence : the so called "open final" is a frequent expedient in the genre, but usually requires a solid base to begin with. With "The Autopsy of Jane Doe" we see a very promising beginning followed by a sudden interruption : we see the lightning but can't hear the thunder. The feeling I draw from all this is an unpleasant mixture of dissatisfaction and incompleteness : I cannot say I haven't been fully entertained by this product, but I can certainly state that the movie could have been written better.

Unfriended (2014)

Innovative, deep, meaningful... NOT!

[5/10 · 8 February 2017]

I truly can't understand the enthusiasm surrounding this movie. The innovative character everyone seems to be so thrilled about is merely and exclusively formal. The substance is as boring and obvious as it could possibly be. The cute couple's issues, the best friendships going to pieces, the unnecessarily trivial secrets... The FF horror form wasn't born for this. Found Footage means shocking the public with sensational plot twists (The Visit), boosting curiosity (The Conspiracy) and narrating impossible, even otherworldly experiences ( As Above so Below; Grave Encounters) : exploiting the noble FF expedient for stupid teenagers' quarrels over some Facebook shaming video just seems inappropriate.

Ouija: Origin of Evil (2016)

The Origin of Evil

[6/10 · 18 December 2016]

This movie is positively impressing. The setting reminds of "Insidious", occasionally, even if "Ouija" does not appear to be as original and entertaining. The first hour of the movie is honestly remarkable : we are given a complete background of the main characters and the atmosphere is adequately prepared for the expectable final action-sequence. In the first section of the movie the narrative elements combine in perfect proportion : thrill, realism, humor, drama, they all build an absolutely convincing plot. But then action comes and all falls down to pieces. As a matter of fact, after the first 60 minutes the movie seems anxious to run too quickly towards a very confusing conclusion. The dosage of CGI is reduced but shows a cheap quality; concerning the end, as I said, too many elements (cliches and attempts of originality) which do not assemble organically are brought on the screen all of a sudden, at the same time. This contributes to creating the sensation that it took less then 20 minutes to shatter a promising work of horror, cautiously built in over one long hour. The two young actresses were both incredibly talented and gave a brilliant performance. I can't wait to see both of them in better horrors.

The Gallows (2015)

The Gallows : average level. Nothing more, nothing less.

[5/10 · 14 December 2016]

This movie is a perfect example of "second generation" Found Footage, with good quality camera shots, frequent dynamic movements and a lot of frantic action. However, in order to maintain the narrative expedients coherent, it would be necessary to find a suitable justification for them. While in movies such as those from the Paranormal Activity franchise the presence of portable cameras is legitimated by the plot itself, in "The Gallows" and many others F.Fs, the public often ends up wondering : "why are they carrying a camera right now? is it realistic to go on filming while in danger or under pressure?". This important gap between reality and fiction creates a feeling of uneasiness in the most careful among the viewers, discouraging them from concentrating completely on the movie. Another small observation : there are a few attempts of creating humor, I believe, in the first scenes. It has become quite a tradition in modern horror (I remember the beginning of "Grave Encounters 2" or "Cloverfield"), but in my opinion not all the habits need to be respected. This confusion of genres, this mix of feelings is dangerous and cannot bring positive consequences : it only spoils the atmosphere, which is an essential precondition for Horrors, and also the most difficult and unstable element for writers to deal with. To sum up, I would say that "The Gallows" rests quietly on a pile of far worse Found Footages, but does not surely belong to the most exciting and surprising examples of the genre.

Lights Out (II) (2016)

Almost Total Darkness

[4/10 · 13 December 2016]

The adequate adjective to describe "Lights Out" is "incomplete". The plot totally lacks continuity and coherence : my first point is that there is no background regarding the main characters; the viewers are not clearly told about the occupation or the past of the female protagonist, which is surely odd. Then, more importantly, the actors are not actually convincing in any of the scenes; in spite of the countless moments of fake tension, there are no scenes which can be truly considered dramatic or thrilling. But I'll be honest : there are two little bright spots. One : I appreciated the technique involving the ultraviolet light (some horror directors might use it more proficiently in the future; it really manages to create remarkable effects). Two : the "evil presence" is never fully showed. I generally consider this to be a positive point in the horror genre because this expedient arises the tension and meanwhile leaves an open space for an eventual sequel (which I hope, in this case, does not come).

The Tunnel (I) (2011)

The best Found Footage ever

[7/10 · 5 December 2016]

I welcomed this movie with a moderate dosis of skepticism, at first. It was an endless summer evening and my poisonous boredom required a powerful antidote. My fault was simply not being accustomed yet to the extreme form of realism of this exceptional horror sub-genre, and I believed a movie shot in a dark environment would only get me confused or, in the best hypothesis, a strong headache. I was completely wrong. I couldn't move my eyes from the screen for the whole time, completely hypnotised by the intensity of the plot and the (astonishing, considering I didn't know any of them before) performance of the actors. But the most important consequence of this movie is what is left after its end : questions. Deliciously unanswered questions. Watching this movie guarantees the arrival in your brain of mindblowing questions like : "could this happen in my town? Is something lurking in the dark beneath modern civilisation? At what cost do metropolitan areas expand? What do they leave behind, unseen and unexplored?" I felt pure excitement after "The Tunnel" ended. I hope someone else can experience this as well.

Devil's Pass (2013)

Snowy Mysteries

[7/10 · 5 December 2016]

As a "found footage" lover, I appreciated this clever contribution to the genre. The movie was cautiously arranged, but, more significantly, it perfectly justified all the conventional features of f.f. horrors; The setting is fascinating and the adventurous spirit of the characters is inspiring. It all goes smoothly until the end : the final plot twist ruins everything. The visual effects in that scene are kindly considerable as "cheap" , so shockingly bad that the lack of technical quality ends up covering the actual meaning of the last sequence. Beyond this controversial point, the movie is generally thrilling and worth watching. I remember feeling pleasantly challenged as it began : I kept asking myself what kind of tragedy was going to happen to the group of hikers. A storm? Wild monsters? No, nothing like it. Let's conclude by saying that this movie was an absolute surprise.

The VVitch: A New-England Folktale (2015)

Clear whispers in the woods

[7/10 · 5 December 2016]

This movie is based on what I'd like to consider a form of artistic Minimalism. I admit I found it very amusing to enjoy the remarkable results of a movie whose simple plot, reduced employment of CGI and vaguely sketched atmosphere combine so organically. The archaic language is, to my judgment, the only touch of artificial sophistication in a product of natural spontaneity and linearity. What's more simple than a family living humbly in the woods? Yet, it is not what it is nowadays considered "mainstream" : the traditional setting of countless childhood fairy tales here constitutes the basis of a perfect horror construction. The contrast between innocence and vice, which also emerged from my previous considerations, is also the central point of this movie, joined by the, also mentioned, illusory nature of the most simple things. Words, looks, basic gestures, animals, even young children are, to quote a famous Log Lady, "not what they seem". Furthermore, the Woods used for the setting are simply majestic. The trees are like bricks of a giant wall between the outside and the inside (even if the two dimensions melt in more than one occasion). I find this work to be a clear voice of hope in the darkness of the boring horror scenario which characterized these last few years. "The Witch" does not simply rely on clichés to survive in the competitive world of contemporary entertainment, but it neutralizes their dead components exploiting what is left of their creative energy to turn tradition into innovation.

Star Wars: Episode VII - The Force Awakens (2015)

The Force is still Asleep

[6/10 · 4 December 2016]

Dear Star Wars fans, this comment is meant for you. Did you expect, as I did, the long waited rebirth of the greatest fantasy saga of all time? Then I assume you also felt a huge sense of disappointment. The unexpressed potential of this movie reaches frustratingly high levels : shallow jokes, clichés, bad visual effects... This really couldn't have been worse. We should all consider the opportunities given to directors nowadays : unlimited budget, amazing technological means and countless examples of awful science fiction to avoid. How many artists wish they had this miraculous set of tools back in the Seventies of the Eighties? However these gifts are still wrapped up and hidden, no one chose to see what's inside the packages, but, in my opinion, the omission wasn't caused by lack of curiosity or audacity. Somehow the public still demands a taste of tradition, even in science fiction, and the producers' only desire is to fulfill the expectations of the audience (even if, in order to achieve their goal, they managed to conceal a remake under the "sequel" label).

Prometheus (I) (2012)

The Myth of the Engineers

[9/10 · 23 November 2016]

One usually approaches with suspect this kind of science fiction sequels : they are described as exaggerated splatters filled with clichés, systematically devoid of a consistent plot (being able to benefit from belonging to a famous franchise). The first minutes of the movie convey, to be completely honest, this kind of "vibe" : the viewer seems to be perfectly aware of what he is watching, that is just another fictional adventure through space. But then things get complicated, both for the characters and for the viewer : existential questions, whose presence is an absolute surprise considering the genre, emerge organically from the story; the tones of the movie also get "darker" and the atmosphere becomes more thrilling. The climax reaches its highest with the gruesome birth of the familiar Alien and its legendary fight with the colossal Engineer. Finally, right when the audience is emotionally exhausted, the adventure restarts, heading towards the Unknown, and the movie ends leaving the desperate need for a sequel. Alien :The Covenant was only recently announced, after too many years separating the collective memory from the true meaning which emanated from Prometheus. A meaning which too many seem not to have fully appreciated : pure adventure is still a value for science fiction, even when it is presented in unconventional ways. There are also minor aspects which need to be taken into account : the official score by Mark Streitenfeld is absolutely inspiring, while the visual effects are moderately remarkable ( I am referring to the beautiful scene in which David finds out the holographic map)

The Conspiracy (2012)

Tarsus Club : Where Elite hides in plain sun

[8/10 · 23 November 2016]

As a horror moviemaniac, and also as a supporter of the "found footage" sub-genre, I can only but strongly recommend this dramatically underrated movie to all those who seek the thrill of authentic tension. My relationship to this movie, as irrelevant as it could be, is itself mysterious; as a matter of fact, some of the theories depicted in it weren't completely new to me, as I remember reading very similar urban legends on conspiracy forums when I wasn't a teenager yet. Those who still haven't watched "The Conspiracy" may as well feel fascination towards this curious way of finding out plots on the Internet, which I myself experienced, but I guarantee that I honestly felt as if I was living a deja vu. I hope someone else had my same experience and might help me recover those articles from the forgotten depths of obsolete forums. Anyway, I think this movie deserves to be analyzed very cautiously. The camera shooting is less "spontaneous" if compared to other f.f. horrors, and the final product might appear a little artificial (there are soundtracks and sound effects) but what's undoubtedly "real" is the Bull Hunt scene : such epicness will be long remembered.

Warcraft (2016)

Back to Azeroth

[7/10 · 23 November 2016]

I grew up with the Blizzard video games and couldn't lose the opportunity to watch and comment this movie. As first as I saw the trailer last year I was pleasantly surprised : what I had dreamed of as a child, a movie based on the mesmerizing universe of Azeroth, was finally becoming real. Watching on the big screen the characters I used to click on with my mouse was honestly a moving experience. Regarding the technical aspects and the contents of the movie, I confess, as most of the reviewers, to have had my prejudicial expectations completely (and positively) overthrown. The plot was linear and coherent, the CGI was conveniently faithful to the game (the Orcs were remarkably designed) and the ending scene with little Thrall travelling in a basket in an almost biblical way just gave me what I needed : the desire not to lose the still unannounced sequel.