Underrated entry in the small canon of anti-CIA Hollywood films. Depicts with such intimacy, humor and lived-in detail the almost invisible way the CIA harnesses underworld activity and redirects it for its own nefarious purposes.
Nia DaCosta’s Candyman rests on a daring wager that unifies the spooky mythos established in Bernard Rose’s original film and the Clive Barker story on which it’s based with the contemporary realities of police violence and resistance. Candyman (Tony Todd), as every schoolchild knows, is a vengeful killer with a hook for a hand, who’s summoned by staring at one’s own reflection in the mirror and repeating his name five times. And DaCosta’s film draws a parallel between that incantation…
A seriously unhinged movie. The majority of shots are framed in decorative cut-outs. Everyone looks slightly (or much more than slightly) insane. Pola Negri gives an endlessly GIF-able performance, and I want to go back in time and hang out with her and be her friend. This is usually described as a satire on militarization, but, honestly, it's way too off-the-rails to be constrained by any one meaning. Bandits. Skulls. Wild mustaches. Sex. Proto-psychedelic sets. (The sets are actually like…
In order to free themselves from this curse, all Poles have to do is say that terrible things happened in our grandfathers’ or great-grandfathers’ generation and shed a tear over those who were killed. That’s all.
Where Aftermath turned Jan Gross's Neighbors--about Polish complicity in the Holocaust and the nation's refusal to own up to its anti-Semitism--into blunt-force drama, Demon takes the same theme and plays it as absurdist horror-comedy. The wedding guests as Polish society: They just…