1st half: **
2nd half: sniff sniff **1/2
A bit like Kiyoshi Kurosawa in its shaggy tale exploration of the absurdity of physical existence. When it comes to conceptual blockbusters, I’ll pass on Pixar’s semiotic pastiches, even Wonder Woman 84’s citizen propaganda via a mash-up of Lifeforce’s plot with Texas Chainsaw Massacre 2’s thematic concerns, for that sweet stuff: Jeff Wadlow’s Blumhouse filmography.
As a series of disparate musings on industrial decay, structural rot, civic mismanagement, teenage agency, death, loss, family, all these as self-fulfilling prophecy, and a genre morality ideated through finessed genre tropes and personal philosophy, this is very disparate, but so much as to be the survey and the total, untempered internalization of the filmmaker's carefully bred artistic personality (that is, "aesthetic personality") that it is. Hooper has always been something of a "shaggy dog" filmmaker, even when putting forth…
"It's much more complex than it seems. I tried to establish some kind of motif that carries throughout the show - sometimes that's actually more important than what you're actually showing. This has a lot to do with lights and shadows: it takes place in a single night, from dusk to dawn. And all the characters bring with them some sort of history, they're not just cardboard characters walking into a slaughterhouse." - Tobe Hooper
I'm no longer convinced of…