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Matthew Krueger (10051 KP) rated Contagion (2011) in Movies
Mar 3, 2020
The Outbreak
With all of this news about the coronavirus, i thought i reviewing this movie. This came out when the swine flu was around, so back in 2011. When the trailer came out, it looked really scary, because it was about a deadly virus speading. Now thats happening right now with the coronavirus. Its scary, but if you wash your hands with soap and water/hand Sanitizer, keep away from sick people, cover your mouth when you snezze and dont touch your eyes, you will be okay.
Anways to the plot:
When Beth Emhoff (Gwyneth Paltrow) returns to Minnesota from a Hong Kong business trip, she attributes the malaise she feels to jet lag. However, two days later, Beth is dead, and doctors tell her shocked husband (Matt Damon) that they have no idea what killed her. Soon, many others start to exhibit the same symptoms, and a global pandemic explodes. Doctors try to contain the lethal microbe, but society begins to collapse as a blogger (Jude Law) fans the flames of paranoia.
It has a all-star cast: includes Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet, and Jennifer Ehle. Plus Steven Soderbergh directed it.
If you like medical action thriller film, than you will like this film.
Anways to the plot:
When Beth Emhoff (Gwyneth Paltrow) returns to Minnesota from a Hong Kong business trip, she attributes the malaise she feels to jet lag. However, two days later, Beth is dead, and doctors tell her shocked husband (Matt Damon) that they have no idea what killed her. Soon, many others start to exhibit the same symptoms, and a global pandemic explodes. Doctors try to contain the lethal microbe, but society begins to collapse as a blogger (Jude Law) fans the flames of paranoia.
It has a all-star cast: includes Marion Cotillard, Matt Damon, Laurence Fishburne, Jude Law, Gwyneth Paltrow, Kate Winslet, and Jennifer Ehle. Plus Steven Soderbergh directed it.
If you like medical action thriller film, than you will like this film.
LeftSideCut (3778 KP) rated Saint Maud (2020) in Movies
May 28, 2021
God damn, am I a sucker for horrors that are equally beautiful and unsettling. Saint Maud hit all the right notes for me.
A big chunk of the runtime is dedicated to the extremly authentic-feeling relationship between the titular Maud (Morfydd Clark), a live-in nurse and her patient Amanda (Jennifer Ehle), a retired dancer who is terminally ill with cancer. The sweet connection between the two of them is subtle but well realised, making it all the more uncomfortable when things take a sinister turn.
The religious premise is nothing new in this genre, and there is a bit of a Rosemary's Baby vibe going on, but it's execution is pretty much flawless. Maud's devotion to God is occasionlly terrifying, but her human doubt and her occasional shake in faith stops the narrative from going full blown religious fanatic, and instead touches upon mental health issues. For all of her preaching at Amanda, Maud is the one who is portrayed as lost and lonely, trying to suppress past trauma. Her character is certainly a sympathetic one.
95% of its runtime is a slow burn, one that is complimented by wonderful cinematography and a haunting music score. However, I'm struggling to think of a film in recent memory that escalates so severely in such a short space of time, when the other 5% finally hits. To say anymore would be stepping into spoiler territory, but I will say that it's beautifully horrifying to watch unfold, with a final shot that will be seared into my brain for a while.
Rose Glass has created a true horror masterpiece with Saint Maud. Her presence withing the horror genre is a welcome one, and I'm excited to see what she does next.
A big chunk of the runtime is dedicated to the extremly authentic-feeling relationship between the titular Maud (Morfydd Clark), a live-in nurse and her patient Amanda (Jennifer Ehle), a retired dancer who is terminally ill with cancer. The sweet connection between the two of them is subtle but well realised, making it all the more uncomfortable when things take a sinister turn.
The religious premise is nothing new in this genre, and there is a bit of a Rosemary's Baby vibe going on, but it's execution is pretty much flawless. Maud's devotion to God is occasionlly terrifying, but her human doubt and her occasional shake in faith stops the narrative from going full blown religious fanatic, and instead touches upon mental health issues. For all of her preaching at Amanda, Maud is the one who is portrayed as lost and lonely, trying to suppress past trauma. Her character is certainly a sympathetic one.
95% of its runtime is a slow burn, one that is complimented by wonderful cinematography and a haunting music score. However, I'm struggling to think of a film in recent memory that escalates so severely in such a short space of time, when the other 5% finally hits. To say anymore would be stepping into spoiler territory, but I will say that it's beautifully horrifying to watch unfold, with a final shot that will be seared into my brain for a while.
Rose Glass has created a true horror masterpiece with Saint Maud. Her presence withing the horror genre is a welcome one, and I'm excited to see what she does next.
Bob Mann (459 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Morfydd Clark - astonishingly good as Maud (1 more)
Expert pacing from debut director Rose Glass
"My Little Saviour": Astonishing Saint Maud delivers psycho-religious chills
Saint Maud is the debut feature from writer/director Rose Glass, and it packs a punch. The film was first seen at last year's London Film Festival, but was due for broader nationwide release soon. What a crushing disappointment it must be for Ms Glass that so few people will likely get to see it in the current climate... at least, not for a while. Since it is an effective little chiller.
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Maud (Morfydd Clark) is a palliative nurse looking after ex-choreographer Amanda (Jennifer Ehle). Maud is extremely religious and feels God move in her... regularly. Acting on His guidance, Maud sets out to save the soul of her ailing bohemian charge. But is Amanda beyond reach, and how will the zealot-like Maud react to that rejection?
Morfydd Clark appears so young in this film that you would think this was her debut film. But she's actually 30 years old and has quite an impressive filmography already. Although this is her movie-lead debut, she's had a substantial part alongside Kate Beckinsale in the excellent "Love and Friendship" and smaller parts in "Crawl", "The Personal History of David Copperfield" and the fun "Pride and Prejudice and Zombies". She's likely to get more worldwide exposure soon as a young Galadriel in Amazon's new version of "Lord of the Rings".
As Maud she is simply superb - expressing such a range of joy, hurt and despair that you must think a BAFTA Rising Star nomination should be on the cards.
Clark is ably supported in the leading role by the splendid Jennifer Ehle, still so memorable to me as Elizabeth Bennett from the BBC's "Pride and Prejudice".
Scarborough is also a star of "Saint Maud". The Yorkshire seaside town is another star of the movie. Clearly filmed before lockdown, the rainy and windswept resort looks bleak and unwelcoming. And that's before Covid! Many of those struggling bars and amusement centres, as in other resorts all around the UK, are now on their last legs.
Adam Janota Bzowski supplies the impressively claustrophobic music, which deserves recognition. A scene with Maud, flicking a lighter rhythmically in time with the sonorous beat, is a masterpiece in musical choreography and editing (by Mark Towns).
At the heart of this horror-thriller is whether, following a Dawkins-style argument, fervent religious followers are less insightfully correct and more mentally unstable and misguided. When is the voice of God just the voice in your head? And how would you tell the difference anyway? Piecing together the plot and motivations of Maud was intellectually challenging and rewarding.
I always get a little tense and nervous when I see the word "horror" on a movie bill. I am NOT a great horror fan! But for me, as a 'horror movie', "Saint Maud" is of the 'horror-lite' variety. Highly watchable, it builds more in the way of creeping dread than cheap shocks. There were only a couple of jump-scares (but for me, the one in the finale was a doozy!).
A BBC interview with Rose Glass I just saw says she relates Maud's relationship with God as like many people's relationship with social media. Always looking for support, guidance and affirmation. Interesting.
This is also an obviously female-led picture. All the men are complete tools. no, really, literally they are. It makes me feel ashamed to be among their number.
Overall, "Saint Maud" is a minor classic. I didn't go in with great expectations of this one, but I was pleasantly surprised. As a small British movie, it packs a punch significantly above its weight. When I came out I was at about a 7* rating. But this is one that really stayed with me, and I've subconsciously thought about little else all day. So for that reason I am going to escalate my rating to something more appropriate.
You might struggle now to see it on the big screen, but if you can do so, it comes with a recommendation from me. I think this one could REALLY be a "Marmite film".... so if you see it, let me know what you thought with a comment on One Mann's Movies here https://rb.gy/9k93ck . (Thanks).
Lee (2222 KP) rated Saint Maud (2020) in Movies
Oct 6, 2020
Saint Maud is a psychological horror about a young nurse (Morfydd Clark) who, following ‘an incident’ while working for the NHS, something horrific that is alluded to in the opening scene, now finds herself working in palliative care.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.
Maud is a lonely, isolated, and very religious young woman, and as she sits in her sparse little bedsit, she prays to God in the hopes that he will guide her as she begins her new role. That new role sees her taking over as carer for Amanda (Jennifer Ehle), an ex-dancer whose body is now succumbing to terminal cancer. As Maud feeds, bathes and generally does everything for Amanda, her obsession with her faith and religion begins to send her into a downward spiral, becoming increasingly convinced that her personal mission from God is to save Amanda's soul. Amanda’s lifestyle choices and love-life are often at odds with Maud’s beliefs, eventually resulting in tensions between them.
'In my head, she's very much this person who has felt really alienated her entire life and has always found it really difficult to connect with other people,' explains British director Rose Glass about the lead character of her feature-length debut. Morfydd Clark fills that role brilliantly, with her calm and innocent voice narrating much of the film through her prayers, and we experience her failed attempts at connecting with others while on a rather heavy and eventful night out on the town. An ominous score also helps to set the tone, along with a rather gloomy colour palette, and there is a general feeling of dread throughout.
Aside from that, it’s fair to say that Saint Maud really didn’t work for me at all. I was fully invested in the character of Maud, how faith was shaping her, and how her relationship with Amanda was affected. But two thirds into this slow-burn character study of a young woman essentially going through a breakdown, I was bored and desperate for something to happen. Considering the runtime is only 84 minutes long, that’s not good.
A last-minute burst of chaos and horror provided a glimmer of hope but was very short-lived. And an attempt to deliver powerfully, memorable imagery only resulted in laughs from my cinema audience the likes of which I haven’t experienced since the ending of Hereditary.