By far, the weirdest thing about this film written and directed by Darren Aronofsky is the notion that someone actually believed it could be turned into a mainstream hit a la Aronofsky’s Black Swan. What put me off watching it in the cinema however wasn’t the polarized reaction and stories of the audience members demanding refunds, but the mention of the dreaded hand-held camera in one of the reviews. I made the right call to avoid nausea at the cinema, but the big screen and darkened isolation from the outside world would undoubtedly have been a better place to fully appreciate the movie’s unique claustrophobic insanity. As opposed to my living room with my Russian neighbours talking in the background.
There’s no point talking about mother! without mentioning what it’s really about, so spoilers ahead.
I finally watched the film considered by some to be Citizen Kane of bad movies, Tommy Wiseau’s infamous The Room. Yes I can see why it’s become a cult classic instead of sinking into the obscurity many other, less inspired terrible movies are usually consigned to.
I very much enjoyed this highly entertaining biographical drama about the controversial ice skater Tonya Harding, which plays as part savage black comedy, part tragedy, and part 
First great film I’ve seen in 2018, Call Me By Your Name is a moving coming-of-age tale, a beautiful romance and a love letter to the warm, sensuous, sun-kissed charms of Northern Italy. I’m sure I say this every time, but my heart skips a beat whenever I see lush summery European landscape onscreen, and in Luca Guadagnino’s film it’s a perfect backdrop for the gently unfolding, finely observed, slow-burn story of a vibrant, life-changing first love that cannot last.
I remembered I wanted to watch this movie thanks to the Maven of the Eventide (or rather, ze Maven of ze Eventide), who hosts Vampire Reviews YouTube series and gave this particular vampire flick high marks. Also, as I rather enjoyed Paterson, the only Jim Jarmusch movie I’ve previously seen, I was interested to watch more of his stuff. His films are often described as an acquired taste, but based on the two I’ve seen so far, he seems to be my cuppa.
Brutal, powerful and at times hard-to-watch drama about a Maori family wrecked by the domestic violence. You get an indication of what you’re up for in the opening shot: a picture-perfect view of the New Zealand landscape set to a wistful tune that quickly reveals itself an advertising billboard near an ugly and noisy construction site. If you want the pretty, look elsewhere.
yggdrasille.com 