Setting aside one really awful supporting performance, this is precisely what I wanted from The Shallows and Crawl; a lean, mean, genuinely suspenseful creature feature with legitimately great filmmaking (!!!) and a fantastic central performance. Features exceptional direction and cinematography (this was actually shot by the same cinematographer as THE INVISIBLE MAN), top notch sound design, and a strong sense of atmosphere. Between Sleight and now this, J.D. Dillard is one to watch for.
There’s something deeply melancholic about Andrew Dickson’s score in this. What at first seems to be a score that just exists to help move the pace ultimately ends up feeling like an essential component of the film for its deeply sad tone and mood, as this film could not be what it is without its score, nor could this score work in any other film.
As for the film itself, while this is an earlier Mike Leigh feature, you can…
I liked CHRISTINE more than a fair amount, but this is something major. Almost like No Country for Old Men meets THE PLACE BEYOND THE PINES. Antonio Campos has such a strong eye for atmosphere, mood, pace, tension, and tone; the filmmaking is top notch, the characters and narrative are *super engrossing,* and the structure *beautifully* ties everything together into a tremendous finale with a perfect final shot. The performances are strong across the board, with Robert Pattinson being the…
Absolutely phenomenal. Not as emotionally powerful as HEREDITARY, but better crafted, thematically deeper and more horrifying than that film. In fact, what HEREDITARY did for families, Midsommar does for relationships. Ari Aster makes so many bold creative choices with his sophomore feature film, and every single one of them pays off beautifully, especially the film’s comedic edge. As disturbing and horrifying the film can be, Midsommar is unironically by far the best comedy of the year, and a huge reason for that is because…