The horror genre allows many opportunities to explore opposition. The opposition may involve faith in “The Exorcist,” gender in “Rosemary’s Baby,” class in “The Texas Chainsaw Massacre” and sometimes all these and more, such as in “Drag Me To Hell.” With folk horror, the opposition is often between tradition and modernity, insiders and outsiders, new…
The first of two John DeLorean-focused films to be released in 2019 (the other being a documentary/re-enactment hybrid “Framing John DeLorean”), Driven does not adopt the typical biopic template. Rather, it positions itself almost as an eyewitness perspective to the entire scandal from the point of view of the FBI informer who ratted John DeLorean…
The San Francisco I knew as a young man was a place with a sense of community and culture that welcomed the adventurous, the imaginative, the creative, and the marginalized. Though, like every other major U.S. city, it was not always a place of harmony, and some neighborhoods had its dangers for outsiders, yet it…
A breathtaking fantastical journey through the height of Hollywood’s most reputable and rebellious era is simultaneously a justified and monotonous way to describe Quentin Tarantino’s ninth film, Once Upon a Time … in Hollywood. Seeing classic views of the golden age of Tinseltown through the lens of the enigmatic and sometimes overbearing filmmaker is shocking…
I don’t even know what to say. Or why to bother. To stare into the void that is Disney’s soul-sucked remake of its cinematic safari The Lion King is to come face to face with a profound and overwhelming sense of meaninglessness. It’s the same movie they released in 1994, only worse in all ways…
In a world where most modern monster horror/thriller hybrids are regulated to Netflix or the SyFy channel, its interesting to see a monster flick about wild alligators terrorizing people during a hurricane has managed to work it’s way into theaters instead of one of the countless streaming sites or a dusty corner on basic cable….
Recapturing old memories can be challenging, especially when the line between what really happened and what may have happened is so fragile. Like Joanna Hogg’s recent film memoir, “The Souvenir,” Chilean director Dominga Sotomayor Castillo (“Thursday Till Sunday”), in her third feature Too Late to Die Young (Tarde para morir joven), is uncertain where memory…
