Directed by Mimi Cave – Screenplay by Lauryn Kahn.
Modern dating can be difficult. We all like to think that we can have a grand love story and just meet someone out of the blue, but, nowadays, many people find their eventual partners through online dating. In Mimi Cave’s FRESH — her feature debut as a director – Noa (played by Daisy Edgar-Jones) is tired of spending so much time finding potential suitors on the online ‘meat market.’ Her online dating usually ends with disappointing dates with rude men or with men sending inappropriate images that she never once asked for. So, it is understandable that she excitedly chases romance when she meets and flirts with the undeniable charming ‘Steve’ (played by Sebastian Stan) in a local supermarket. In spite of obvious red flags (he has no Instagram account!), she decides to go away with him on a weekend vacation, where she will soon find out that he has an uncommon ‘hobby’ — to say the least — and that his intentions aren’t good.
Directed by Nia DaCosta — Screenplay by Nia DaCosta, Win Rosenfeld, & Jordan Peele (Get Out; Us).
Horror remakes, reimaginings, or sequels decades after a popular antagonist’s inception are inevitable. This movie studio trend was especially prevalent in the 2010s, when it was emphasized just how profitable decent-to-good horror films can be. One of the more stylized attempts was Luca Guadagnino’s Suspiria remake, while one of the more disappointing attempts was Kölsch & Widmyer’s Pet Sematary remake. Horror remakes are a dime a dozen these days, but the current horror movie trend is the legacyquel — a portmanteau of legacy and sequel — which is a continuation of a previous film but one that takes place a long time after the events of the original film and often with entirely new characters. Another trend is that of ignoring some films in the franchise, for the purpose of taking the franchise in another direction. Such is the case with a legacyquel like David Gordon Green’s Halloween. Another legacyquel that ignores certain chapters in its own cinematic mythology, Nia DaCosta’s Candyman, which really ought to have a different title for simplicity’s sake, follows many horror movie trends, but perhaps most notably those kickstarted by her producer and co-writer Jordan Peele.
Today, in honor of Friday the 13th, I want to showcase my ten favorite horror films of the 2010s. I’ll also preface this list by saying that I reserve the right to change this list for the remainder of 2019 in case something new is good enough to make it onto this list. Continue reading “Best of the 2010s: Top Ten Horror Films”→
There is something very exciting about a directorial debut. Obviously, the filmmaker is excited about their first chance to step behind the camera on a feature film, but, as an audience member or film writer of any kind, it is so fascinating to see the choices being made. Sometimes some of the boldest and most imaginative filmmakers present us with instant classics, other times newcomers deliver a product that may not be extraordinary filmmaking but which may still be a moving or exciting motion picture. In this month’s best of the decade list, I’m honoring the very best directorial debuts. Some of them are first works for potential auteurs, while others are impressive blockbuster entertainment from untested new filmmakers just learning the ropes. Continue reading “Best of the 2010s: Directorial Debut Films”→
The following is a review of Us — Directed by Jordan Peele.
No directorial debut this decade has made as much noise as Jordan Peele’s Get Out did. The social-horror film was made by a comedian from a popular two-man sketch comedy group who, as it turned out, had his finger on the pulse of America. Get Out is not just one of the most discussed films of the decade, it’s also one of the most interesting, one of the most rewatchable, and, arguably, one of the best. Though Us may not be as sharp, potent, or intelligent as Get Out, Peele here proves that he is no one-hit wonder. Get Out wasn’t a fluke, Jordan Peele knows exactly what he’s doing. Continue reading “REVIEW: Us (2019)”→
It is almost time for the 90th Academy Awards, and that, of course, means that I have to show you what films I believe to be the very best of 2017. I’ve got my blog awards, the final half of which I released a few days ago, but the top ten list is probably my favorite annual year-in-review article that I publish. So, let us now have a look at the very best films of the great year for film that 2017 was. Continue reading “Top Ten Films of 2017”→
This is it. The second half of the 5th annual I’m Jeffrey Rex Awards is ready, and this is the big half, to me. The awards that I’ll go through today are focused on film and documentaries, and I specifically wanted to get these out of the way before the Oscars were held. However, as I am a Dane, there are some films that have been deemed ineligible for these awards due to the fact that they (films like Lady Bird and The Post) will not be released in Denmark until April. Keep that in mind. Without further ado, let’s get to it. Continue reading “5th I’m Jeffrey Rex Awards, Part Two – 2017”→
This is it. Here we are. This Sunday, the 90th Academy Awards will be held. They’ll laugh about the La La Land–Moonlight mess, maybe they’ll even invite the presenters and the producers of both films onto the stage for some kind of joke. Streaks will be broken, there will be bad decisions, good decisions, and decisions that will look idiotic years from now. That’s the Oscars. That’s all a part of the game. Being that it is this close, it is finally time for me to reveal my final Oscar predictions for this awards season. Who will win? Who will lose? What would I have voted for? Let’s dive right in with the first categories. Continue reading “Final 90th Academy Awards Predictions: Winners – Special Features #17”→