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Lee (2222 KP) rated It Comes At Night (2017) in Movies
Jul 14, 2017
Tension packed, slow burner
I headed into ‘It Comes At Night’ in a similar way to when I saw ‘Get Out‘ a few months back – having seen a lot of positive four or five star buzz about it on my news feeds, but without actually seeing the trailer. I skimmed a couple of reviews this time, just to get a rough idea of what I was in for, and one of the words which seemed to crop up on a number of them was ‘unsettling’. Well, that sold it for me! Get Out is my favourite movie of the year so far, and I felt that my enjoyment of seeing that had been greatly improved having not seen the trailer, and with no expectations. So, I went into ‘It Comes At Night’ hoping for a similar experience.
The opening scene sets the tone for what’s to come. A sick old man listens to his daughter Sarah tell him she loves him. She’s wearing a protective gas mask, as are her husband and son. Husband Paul and son Travis then take grandpa out of the cabin they’re in, into the woods where they proceed to wrap him up in a sheet, shoot him in the head, roll him into a ditch and set fire to him. It becomes apparent that we’re in a post apocalyptic world where some kind of plague has taken hold, and Grandpa had unfortunately become infected. We’re not shown any TV news footage, we don’t hear any radio broadcast of any kind and there aren’t any zombies or infected people wandering around. There’s just this small family, out in the middle of nowhere and with no idea what state the rest of the world is currently in or how bad things are. They keep their cabin boarded up, with only one locked door for entry. They lead a lonely, basic existence, taking no chances with whatever is going on out in the rest of the world.
And then one night they’re awoken by somebody breaking in downstairs. A man who claims he thought the place was empty. He claims to be only out scavenging for water for his family. His name is Will and he says that he’s left his wife and young son behind some 50 miles away and is only interested in providing for them. Paul and his family don’t know whether to believe him and this feeling of uncertainty, paranoia and tension is something which takes hold and continues throughout the entire movie. Not knowing if Will is infected or not, they tie him to a tree overnight to see if infection sets in. When it doesn’t, they come to an understanding and agree to go and get Wills family and bring them back to the safety of the cabin. The family seem to integrate well, falling in line with Pauls strict routine of eating, washing and going to the toilet, and all seems to be going well for a while.
Sadly, I think the expectation of an experience similar to ‘Get Out’ affected my overall enjoyment of the movie. Sure I was tense and on edge for pretty much the whole movie, but I guess I was expecting it all to build up to something much more. It did reach a pretty intense finale of sorts, but then it just seemed to fizzle out until the credits rolled and a sense of overall disappointment set in. I don’t think I was the only one either. As I stood to leave the cinema, the guy across the aisle from me, along with a couple of others seated nearby, all kind of looked at each other in disbelief and with a ‘WTF?!’ expression. It was definitely a good movie, which deserves to be seen, but it just didn’t leave that much of a lasting impression on me.
The opening scene sets the tone for what’s to come. A sick old man listens to his daughter Sarah tell him she loves him. She’s wearing a protective gas mask, as are her husband and son. Husband Paul and son Travis then take grandpa out of the cabin they’re in, into the woods where they proceed to wrap him up in a sheet, shoot him in the head, roll him into a ditch and set fire to him. It becomes apparent that we’re in a post apocalyptic world where some kind of plague has taken hold, and Grandpa had unfortunately become infected. We’re not shown any TV news footage, we don’t hear any radio broadcast of any kind and there aren’t any zombies or infected people wandering around. There’s just this small family, out in the middle of nowhere and with no idea what state the rest of the world is currently in or how bad things are. They keep their cabin boarded up, with only one locked door for entry. They lead a lonely, basic existence, taking no chances with whatever is going on out in the rest of the world.
And then one night they’re awoken by somebody breaking in downstairs. A man who claims he thought the place was empty. He claims to be only out scavenging for water for his family. His name is Will and he says that he’s left his wife and young son behind some 50 miles away and is only interested in providing for them. Paul and his family don’t know whether to believe him and this feeling of uncertainty, paranoia and tension is something which takes hold and continues throughout the entire movie. Not knowing if Will is infected or not, they tie him to a tree overnight to see if infection sets in. When it doesn’t, they come to an understanding and agree to go and get Wills family and bring them back to the safety of the cabin. The family seem to integrate well, falling in line with Pauls strict routine of eating, washing and going to the toilet, and all seems to be going well for a while.
Sadly, I think the expectation of an experience similar to ‘Get Out’ affected my overall enjoyment of the movie. Sure I was tense and on edge for pretty much the whole movie, but I guess I was expecting it all to build up to something much more. It did reach a pretty intense finale of sorts, but then it just seemed to fizzle out until the credits rolled and a sense of overall disappointment set in. I don’t think I was the only one either. As I stood to leave the cinema, the guy across the aisle from me, along with a couple of others seated nearby, all kind of looked at each other in disbelief and with a ‘WTF?!’ expression. It was definitely a good movie, which deserves to be seen, but it just didn’t leave that much of a lasting impression on me.
Lee (2222 KP) rated Relic (2020) in Movies
Sep 2, 2020
I only became aware of Relic back in June. After looking into it a little more, I started to come across the traditional ‘scariest movie of the year’ headlines, which seem to accompany the release of pretty much every movie of this kind before release. I also saw comparisons being made to both Hereditary and The Babadook, and anyone who has ever heard any of my rantings on the subject before will know exactly which opposite ends of the movie rating scale I consider those movies to be on! Thankfully, this feature debut from writer/director Natalie Erika James lands nicely on the same end of the scale as The Babadook.
When Kay (Emily Mortimer) receives word that her elderly mother, Edna (Robyn Nevin) has gone missing, she and daughter Sam (Bella Heathcote) drive out to her rural home to investigate. We’d already been introduced to Edna briefly in the opening scene, where she stood naked with her back to us, in a sequence which had already managed to introduce an overwhelming sense of dread and unease. Something that Relic continues to build upon for much of its 89 minute runtime.
Kay and Sam spend some time in the house, liaising with the police and looking for clues to Edna’s whereabouts while they rummage through her large house. Post-it note reminders are dotted around the house, indicating that Edna is now struggling with dementia. From the simple, helpful kind of reminder, such as “take pills” and “turn off the tap”, to the slightly more sinister “don’t follow it”. There are lots of strange, unexplained noises in the house too, with a black mould growing on some of the walls. All the while, a pulsing, pounding score in the background continues to effectively layer up on that dread and unease I mentioned before. While browsing through some paperwork, Kay finds an old sketch of a cabin in the woods and casually mentions to Sam that it was where her great grandfather died alone, of dementia. Apparently the windows, and other elements of the cabin, were used in the building of the house that they are now in, and despite the fact that Kay is currently suffering from dark and disturbing nightmares involving the cabin and her great grandfather, none of this seems to trigger any alarm bells whatsoever!
When Edna suddenly returns home one morning, with no memory of where she’s been, she has dirt under her fingernails and a large and nasty bruise on her chest, which over time begins to look suspiciously like that black mould that’s forming on the walls. While Sam wants to stay and be near to her grandmother, Kay is more focused in checking out care homes to ship her off to. Edna swings between being perfectly normal, with a sharp memory, to periods of forgetfulness and rage. Some time taken to follow the family interactions over the next few days really helps to deepen the characters’ relationships in our minds, highlighting existing tensions between them. And restricting pretty much all of the movie to the confines of the mysterious house only serves to ramp up the unease, in preparation for the final act.
The description of Relic on IMDb states “a manifestation of dementia consumes the family home”, and you can probably gather as much anyway, just by watching the trailer. Instead of the traditional haunted-house movie that you might expect from the earlier part of the movie, we’re treated to an allegory for the horrors of dementia. The house becomes the star of the movie, seemingly altering itself to induce claustrophobia, confusion and panic in Sam and Kay as they become trapped in its shifting corridors, lowered ceilings and newly sealed doors.
Relic can at times feel a little too metaphor driven, and while I understood the beauty and the meaning behind it’s closing moments, I felt it threw up a lot more questions than it answered. Depending on how much that bothers you may affect your overall enjoyment, but I still found it to be an impressively original movie, which successfully managed to creep me out!
When Kay (Emily Mortimer) receives word that her elderly mother, Edna (Robyn Nevin) has gone missing, she and daughter Sam (Bella Heathcote) drive out to her rural home to investigate. We’d already been introduced to Edna briefly in the opening scene, where she stood naked with her back to us, in a sequence which had already managed to introduce an overwhelming sense of dread and unease. Something that Relic continues to build upon for much of its 89 minute runtime.
Kay and Sam spend some time in the house, liaising with the police and looking for clues to Edna’s whereabouts while they rummage through her large house. Post-it note reminders are dotted around the house, indicating that Edna is now struggling with dementia. From the simple, helpful kind of reminder, such as “take pills” and “turn off the tap”, to the slightly more sinister “don’t follow it”. There are lots of strange, unexplained noises in the house too, with a black mould growing on some of the walls. All the while, a pulsing, pounding score in the background continues to effectively layer up on that dread and unease I mentioned before. While browsing through some paperwork, Kay finds an old sketch of a cabin in the woods and casually mentions to Sam that it was where her great grandfather died alone, of dementia. Apparently the windows, and other elements of the cabin, were used in the building of the house that they are now in, and despite the fact that Kay is currently suffering from dark and disturbing nightmares involving the cabin and her great grandfather, none of this seems to trigger any alarm bells whatsoever!
When Edna suddenly returns home one morning, with no memory of where she’s been, she has dirt under her fingernails and a large and nasty bruise on her chest, which over time begins to look suspiciously like that black mould that’s forming on the walls. While Sam wants to stay and be near to her grandmother, Kay is more focused in checking out care homes to ship her off to. Edna swings between being perfectly normal, with a sharp memory, to periods of forgetfulness and rage. Some time taken to follow the family interactions over the next few days really helps to deepen the characters’ relationships in our minds, highlighting existing tensions between them. And restricting pretty much all of the movie to the confines of the mysterious house only serves to ramp up the unease, in preparation for the final act.
The description of Relic on IMDb states “a manifestation of dementia consumes the family home”, and you can probably gather as much anyway, just by watching the trailer. Instead of the traditional haunted-house movie that you might expect from the earlier part of the movie, we’re treated to an allegory for the horrors of dementia. The house becomes the star of the movie, seemingly altering itself to induce claustrophobia, confusion and panic in Sam and Kay as they become trapped in its shifting corridors, lowered ceilings and newly sealed doors.
Relic can at times feel a little too metaphor driven, and while I understood the beauty and the meaning behind it’s closing moments, I felt it threw up a lot more questions than it answered. Depending on how much that bothers you may affect your overall enjoyment, but I still found it to be an impressively original movie, which successfully managed to creep me out!
Lucy Buglass (45 KP) rated Lion (2017) in Movies
Jun 20, 2019
Upon discovering this short film, I was impressed with how well it had performed. During its first year of distribution, it has won 126 awards at a variety of film festivals which is quite the selling point. Walking in to the film, I didn’t know much about it but the air of mystery made my viewing experience even better. The film is set in an isolated cabin, on a snowy night, which creates the perfect backdrop for a horror tale…
From the very first scene you can tell this cabin is not a happy place to be. Straight away we’re created with sounds of domestic violence, making the viewer feel instantly uncomfortable. The father in the film is repulsive and lives in a squalor, with cigarette butts, leftover pizza and empty cans of beer dotted everywhere. Michael Segal really brought this character to life, showing us that not all villains are supernatural or machete wielding psychopaths. Some evil can be found in the average home, behind closed doors, where violence takes over. Sometimes humans can be more terrifying than anything else.
The way Lion deals with domestic violence, particularly against children, was done incredibly well. It’s not an easy topic to cover but this short makes an impact without going too far and making it gratuitous. Part of what makes this film so good is what you don’t see on screen, and how your imagination runs wild. It has a slow burning narrative that builds up the suspense and finally unleashes the climactic moment with only a few minutes to spare, providing closure and satisfaction for the spectator.
I really liked the use of special effects throughout the film, because they blended in nicely with the rest of the scene and weren’t overdone at any point. Cinematically it hits all the right notes for a horror film through it’s use of low-lighting, tense creeping moments, and an excellent use of music. Jump scares and gore weren’t needed in Lion, because it manages to deliver real horror in a much more subtler, but effective way. The presence of the lion throughout was a good motif to use as well, as they’re synonymous with courage and being a fighter. You’ll see what I mean when you watch it.
Lion is an incredibly important short film that I believe is a must watch, even for those who don’t tend to reach for horrors. The final card at the end reiterates the important message that is present throughout the film, and it really resonated with me. It’s a film with fantasy elements, yet still deep rooted within reality that it makes you want to stand up and take action in any way you can.
https://jumpcutonline.co.uk/lion-short/
From the very first scene you can tell this cabin is not a happy place to be. Straight away we’re created with sounds of domestic violence, making the viewer feel instantly uncomfortable. The father in the film is repulsive and lives in a squalor, with cigarette butts, leftover pizza and empty cans of beer dotted everywhere. Michael Segal really brought this character to life, showing us that not all villains are supernatural or machete wielding psychopaths. Some evil can be found in the average home, behind closed doors, where violence takes over. Sometimes humans can be more terrifying than anything else.
The way Lion deals with domestic violence, particularly against children, was done incredibly well. It’s not an easy topic to cover but this short makes an impact without going too far and making it gratuitous. Part of what makes this film so good is what you don’t see on screen, and how your imagination runs wild. It has a slow burning narrative that builds up the suspense and finally unleashes the climactic moment with only a few minutes to spare, providing closure and satisfaction for the spectator.
I really liked the use of special effects throughout the film, because they blended in nicely with the rest of the scene and weren’t overdone at any point. Cinematically it hits all the right notes for a horror film through it’s use of low-lighting, tense creeping moments, and an excellent use of music. Jump scares and gore weren’t needed in Lion, because it manages to deliver real horror in a much more subtler, but effective way. The presence of the lion throughout was a good motif to use as well, as they’re synonymous with courage and being a fighter. You’ll see what I mean when you watch it.
Lion is an incredibly important short film that I believe is a must watch, even for those who don’t tend to reach for horrors. The final card at the end reiterates the important message that is present throughout the film, and it really resonated with me. It’s a film with fantasy elements, yet still deep rooted within reality that it makes you want to stand up and take action in any way you can.
https://jumpcutonline.co.uk/lion-short/
Suswatibasu (1701 KP) rated The History of Wolves in Books
Nov 3, 2017
Compelling and rather odd
History of Wolves is a coming of age story that will resonate with many people. Linda, mostly left to raise herself by hippy, laid back parents, lives in Northern Minnesota, on grounds that used to belong to a commune, of which her parents were members.
Linda is 14, melodramatic and poetic. She's somewhat obsessed with a classmate, Lily, who spread rumours that their teacher, Me Grierson, molested her though this is questionable. Linda's narrative often veers off into dark corners, and the way the story is told (going back and forth, from teenage Linda to older Linda, reminiscing) only serves to increase the feeling of unease as the reader continues through the story.
The girl also spends a lot of time babysitting Paul, a toddler who moved into a cabin across the lake with his mother, Patra. Paul's father, Leo, is often working away, but when he arrives, Linda's relationship with Petra becomes strained. Patra's youth becomes glaringly obvious when her older husband appears. As a reader you're aware that something terrible has happened, but author Emily Fridlund trickled the information into your mind, keeping you reading until the end. The story surrounds Linda feeling both as a victim and a wrongdoer.
It's not the best Man Booker long list read as at times the narrative is far too disjointed. But the author writes very well.
Linda is 14, melodramatic and poetic. She's somewhat obsessed with a classmate, Lily, who spread rumours that their teacher, Me Grierson, molested her though this is questionable. Linda's narrative often veers off into dark corners, and the way the story is told (going back and forth, from teenage Linda to older Linda, reminiscing) only serves to increase the feeling of unease as the reader continues through the story.
The girl also spends a lot of time babysitting Paul, a toddler who moved into a cabin across the lake with his mother, Patra. Paul's father, Leo, is often working away, but when he arrives, Linda's relationship with Petra becomes strained. Patra's youth becomes glaringly obvious when her older husband appears. As a reader you're aware that something terrible has happened, but author Emily Fridlund trickled the information into your mind, keeping you reading until the end. The story surrounds Linda feeling both as a victim and a wrongdoer.
It's not the best Man Booker long list read as at times the narrative is far too disjointed. But the author writes very well.
graveyardgremlin (7194 KP) rated Every House is Haunted in Books
Feb 15, 2019
Standouts:
Cabin D - Intriguing beginning gave way to fascinating ending.
The Nanny - This just made for a neat ghost story.
The Cat - I could use a cat like this, but I don't know if I'd survive.
Charlotte's Frequency - Creepy and weird. Me likey. After reading, I wondered who'd win in a Cat vs. Charlotte battle. <spoiler>I vote for draw, or else they team up and annihilate humanity. That's probably more likely.</spoiler>
The Tattletail - Kinda cute, actually.
Inheritor - I kinda saw where this was headed but it still made for a darned good yarn.
The Candle - Appropriately creepy and a good book ender although I'm not exactly sure what the heck happened.
Ho-hum
Autumnology - I get it, but I think I'd get it more when I'm an old geezer. Physically, not just in mind.
The Dark and the Young - This was just too long and explained things too much but with little point.
Woods - I liked the thought behind this but the ending just didn't do anything for me.
Relaxed Best - In a different anthology, I might have liked this better as I like noir, but I just didn't care for where it went.
Twillingate - Meh.
All the rest of the tales fell somewhere in between awesome and meh, but even in the Ho-hum category, I didn't actually hate any of the stories.
3.5 stars
Cabin D - Intriguing beginning gave way to fascinating ending.
The Nanny - This just made for a neat ghost story.
The Cat - I could use a cat like this, but I don't know if I'd survive.
Charlotte's Frequency - Creepy and weird. Me likey. After reading, I wondered who'd win in a Cat vs. Charlotte battle. <spoiler>I vote for draw, or else they team up and annihilate humanity. That's probably more likely.</spoiler>
The Tattletail - Kinda cute, actually.
Inheritor - I kinda saw where this was headed but it still made for a darned good yarn.
The Candle - Appropriately creepy and a good book ender although I'm not exactly sure what the heck happened.
Ho-hum
Autumnology - I get it, but I think I'd get it more when I'm an old geezer. Physically, not just in mind.
The Dark and the Young - This was just too long and explained things too much but with little point.
Woods - I liked the thought behind this but the ending just didn't do anything for me.
Relaxed Best - In a different anthology, I might have liked this better as I like noir, but I just didn't care for where it went.
Twillingate - Meh.
All the rest of the tales fell somewhere in between awesome and meh, but even in the Ho-hum category, I didn't actually hate any of the stories.
3.5 stars
Andy K (10821 KP) rated Deep Rising (1998) in Movies
Aug 4, 2019
I love me a creature feature!
A wise-cracking boar captain is hired to bring a band of mercenaries out to sea for an unknown mission. He soon finds out there are several large bombs on board his hull. Meanwhile on a nearby large luxury liner, someone has sabotage's the ships instruments so they are now dead in the water. A beautiful thief is also captured and locked in an inner cabin of the ship.
When the small craft arrives, they notice all the ship's crew and passengers have vanishes do the force of an unknown entity. Once they discover what has happened and what is involved, they have to try and escape the now sinking ship quickly to save themselves.
Treat Williams and Famke Janssen lead the pack here of a very entertaining creature feature in the vein of The Relic, Mimic, Phantoms, The Virus or other films of that era.
Very entertaining as long as you don't think much about it or are able to accept the premise and story as is. The SFX are of the time period. Not great by today's standards or even of those like Jurassic Park which was made years earlier. They are not as bad as The Rock in the Scorpion King (man was that awful)!
When the small craft arrives, they notice all the ship's crew and passengers have vanishes do the force of an unknown entity. Once they discover what has happened and what is involved, they have to try and escape the now sinking ship quickly to save themselves.
Treat Williams and Famke Janssen lead the pack here of a very entertaining creature feature in the vein of The Relic, Mimic, Phantoms, The Virus or other films of that era.
Very entertaining as long as you don't think much about it or are able to accept the premise and story as is. The SFX are of the time period. Not great by today's standards or even of those like Jurassic Park which was made years earlier. They are not as bad as The Rock in the Scorpion King (man was that awful)!
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