I went to the Astor Theatre with a friend for a Robert Eggers double feature: last year’s The Lighthouse and his debut film, The Witch, that I was happy to re-watch on the big screen. T’was a fun night of creepy folk tales and period horror. Now that the coronavirus is shutting theatres down, it’s strange to think that this might be my last cinema outing for a while, and that the last two films I’ve watched are about people going insane and killing each other in confined spaces.
I thought I’d give this onscreen adaptation of Bret Easton Ellis’ controversial novel a rewatch after many years. It’s not a perfect movie, but I was surprised at how savagely funny this satire of the 80s consumerism and yuppie phenomenon really is, something that had completely gone over my head when I first watched it.
A peculiar blend of historical fiction and supernatural horror, The Terror is a chilling speculation on the fate of the doomed 19th-century polar expedition led by Sir John Franklin. I read almost half of it in a long marathon session while sick in bed, and by the evening I could almost hear the groaning of the ice and the howling arctic wind. Though it’s not an easy breezy read at over 900 pages long, it’s a meticulously researched, deeply absorbing and deeply nightmarish tour de force.
This remake of Let the Right One In, the Swedish film adaptation of John Ajvide Lindqvist’s haunting novel, doesn’t scale the heights of either but is a pretty good vampire movie in its own right.
I didn’t think it was a perfect movie, but I’ll give Hereditary this – it got to me like very few horror films ever have. I ended up watching maybe a third of it through my fingers, which I haven’t done since I was a child.
This horror film with a beautifully simple premise had many things going for it, but its dramatic shortcomings and a few too many contrivances stopped me from loving it as much as many other people seem to.
I broke my tradition of never going out on a Monday night during a working week to watch this 1986 David Cronenberg horror film at the Astor Theatre.
I’ve always had a soft spot for this black sheep of the Alien franchise, probably because I can never hate a movie that’s so utterly bizarre. Since I’ve re-watched Alien 3 recently I thought I might go back and bask again in its weird, awkward, misshapen glory.
My usual stance on this movie is living in Denialville; lalalalala not listening, Ripley, Newt and Hicks made it back to Earth and lived happily ever after with Jonesy the cat. For whatever reason, recently I felt an urge to revisit this dour and divisive entry in the Alien franchise, maybe because watching Alien: Covenant gave me a new appreciation for the installments that at least attempted to do something different.
Watched the latest unsettling sci-fi mind-bender from Alex Garland, the writer/director of Ex Machina, that got dumped on Netflix for being “too complicated” for the wider audience. I’m sorry that I never got a chance to see it on the big screen, but good on the creative team for refusing to dumb it down.