I felt that it was time to strategically sprinkle in another of Christie’s big-time stinkers into my re-readathon. Like The Big Four, Passenger to Frankfurt is another of Dame Agatha’s failed attempts at a spy novel about a world-wide conspiracy out to destroy the existing social order. While the former is just plain terrible, the latter also has the dubious distinction of being probably the weirdest book Christie ever penned, and not in a good way. It was first published in 1970 to mark her 80th birthday, and, at the most charitable, it can be seen as a window into Christie’s view of the world she found herself in the twilight of her years.
A stylish and eccentric thriller that feels thoroughly French despite the English-speaking cast and the New York setting, with Natalie Portman in what surely must be one of the most memorable child performances of all time.
A rare addition to the list of good Stephen King film adaptations, Gerald’s Game also impressively succeeds at making the practically unfilmable source material work as cinema.
Jake Gyllenhaal’s unnerving performance as a sociopath for the ages is the main reason to watch this visually sleek film, which rests somewhere in between a dark nihilistic thriller and biting media satire.
An engrossing Oscar-winning German thriller about spying, fear and oppression in the East Germany, in the fittingly Orwellian year of 1984.
I’ve been rewatching some of my old favourites lately, including this underappreciated 1999 thriller written and directed by Anthony Minghella. Though, judging by the amount of online articles that seem to be popping up to celebrate the film’s 20th anniversary, maybe it’s not so underappreciated after all.
I’ll always have a special soft spot for this book since it was the first Agatha Christie novel I’ve ever read back in my early teens. While I probably wouldn’t recommend it to someone else as a first taste of Christie, it’s a fun adventure romp that holds up surprisingly well on a re-read and is one of Christie’s better thrillers. Also, the current coronavirus situation and its restrictions have a way of colouring things I watch and read; reading about someone embarking on an adventure in a far-off country (on a cruise ship, no less!) left me with a wistful pang that otherwise wouldn’t be there.
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.