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 was going to miss out on this movie, but thanks to its recent historical success at the Oscars, South Korean director Bong Joon-ho’s film got a second life at the cinemas. It’s a remarkable and wildly entertaining ride that deserves to be seen on a big screen, if only for the reactions of the crowd gasping out loud at the movie’s twists and turns.
I enjoyed this fun and inventive German thriller from the late 90s, but I do wish I had seen it at the time of its release.
I’ve already watched the mostly excellent HBO adaptation with Amy Adams before reading Gillian Flynn’s debut novel, but having read her other books I think I’d have had a fair idea of what to expect anyway. As her musical namesake Gillian Welch sings, You know some girls are bright as the morning / And some have a dark turn of mind.
This strange hodge-podge of comedy and thriller from director Paul Feig can’t decide whether it wants to poke light-hearted fun at the recent thrillers like Gone Girl, or actually be the next Gone Girl. But it’s heaps of fun regardless.
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.
This gripping crime drama (winner of the Best Foreign Language Film at the 2010 Academy Awards) is the first film from Argentina I’ve seen. I definitely would like to watch more.