A handful of years before he directed all episodes of the excellent and underseen adaptation of The Little Drummer Girl led by Florence Pugh and Alexander Skarsgaard, Park Chan-wook made his first film in English with the Hitchcockian thriller Stoker, based on a screenplay from Prison Break-actor Wentworth Miller (under a pen name).
The following is a review of The Grudge — Directed by Nicolas Pesce.
Though I haven’t rewatched it in years (for reasons that will become apparent in a moment), I think that Takashi Shimizu’s Sarah Michelle Gellar-led 2004 American remake of Ju-On:The Grudge is really effective. To be perfectly honest with you, it frightened me so much when I saw it at age eleven that it gave me nightmares. I thought about it for weeks. The creepy imagery still freaks me out. So, when I heard that up-and-coming filmmaker Nicolas Pesce was making a new film in the series, I was both nervous, scared, and intrigued. Unfortunately, I don’t think Pesce was able to breathe new life into the horror subgenre once ruled by Ju-On and Ringu. Continue reading “REVIEW: The Grudge (2020)”→
The following is a review of Bird Box — Directed by Susanne Bier.
The post-apocalyptic novel upon which Susanne Bier’s film of the same name, Bird Box, is based came out in 2014. So, let’s just get one thing out of the way, its ideas, though perhaps stale in a world where A Quiet Place just came out months ago, do not deserve to be cast aside just because Krasinski beat Bier to the punch. Besides, A Quiet Place isn’t even the film Bird Box resembles the most. Continue reading “REVIEW: Bird Box (2018)”→
The following is a review of Widows — Directed by Steve McQueen.
Based on Linda La Plante’s 1980s crime drama of the same name, Widows is only the fourth feature film from Academy Award, BAFTA Award, and BFI Fellowship-winning film director Steve McQueen, who has now teamed up with crime writer Gillian Flynn (Gone Girl & Sharp Objects). After having made films about Irish history, sex addiction, and the American history of slavery, McQueen’s latest film tackles themes such as class, politics, and gender via an audience-pleasing genre. Continue reading “REVIEW: Widows (2018)”→