I am still somewhat aghast when it comes to The Sadness. I watched it more than two weeks ago and no amount of cold showers can wash away the shockingly vicious images that have seared into my mind. I know that sounds like hyperbole and that just about every other super gory horror movie has struck a similar nerve in the film going community over the past decade or two. I am a fan of many of those films and watched many others strictly because I pride myself on my tolerance for films that more squeamish people would run away screaming from. Yet despite some of those titles being substantially more mortifying than The Sadness, the film still has a way of leaving you shaken and uneasy. Have you ever watched a movie and breathed a sigh of relief when it does not go as far as you thought it would? Well, The Sadness does the opposite – it goes well past the threshold of “too far” and into a realm of depravity few films have ever journeyed into.
And just so you know Writer/Director Rob Jabbaz (originally from Mississauga!) is not playing around, he makes that depraved journey multiple times. And each time is more fucked up than the last.
Casi (John Boyega) is an idealistic public defender in New York City. He wants to believe in the system, even though he knows it will keep failing him and his clients. On the verge of being disbarred, he takes on the case of Lea (Olivia Cooke), a former client and someone Casi happens to have a crush on. She has gotten mixed up in a scheme to steal an impounded car that is stashed with heroin and has her own motivations for wanting to be involved. As Casi begins seeing signs of impending universal destruction, he decides to get involved too.
Emma (Olivia Cooke) and Jude (Jack O’Connell) are a young married couple who have their whole lives ahead of them. That is, until a viral pandemic breaks out where those afflicted lose their memories. When Jude begins to show symptoms of the disease, the couple comes together to preserve their relationship and the memories that go with it for as long as they can.
Another movie about a pandemic? REALLY?! That was my thinking before I pressed play on Little Fish, Chad Hartigan’s rather timely sci-fi romance film. Much like everyone else, the real life pandemic has left me burnt out and languishing as I wait for some form of normalcy to kick back in. And after watching multiple documentaries and dramedies made about this moment in history that we are all living through – I was not immediately keen on taking another one in, even if it was based on a fictional event that was filmed well before anyone had ever heard of COVID-19.
How could I possibly get any enjoyment out of something that hits so close to home?
A mysterious catastrophe has destroyed the Earth as we know it as humanity is slowly poisoned by radiation. With little hope for survival, Arctic-stationed Scientist Augustine Lofthouse (George Clooney) refuses to evacuate. He wants to stay behind so he can warn the team on the Aether spacecraft orbiting Jupiter to not return. But impending radiation, bad connections, cancer and a young stowaway named Iris (newcomer Caoilinn Springall) all stand in the way of Lofthouse sending his warning.
The Midnight Sky is George Clooney’s most ambitious and large scale directorial undertaking to date. He has mainly gravitated towards period pieces in the past (and whatever the hell Suburbicon was supposed to be), so it was a bit of a surprise to hear he was taking on a meditative science fiction doomsday thriller. I feared he might be in over his head, but my concerns practically vanished within seconds of the film beginning. Everything about the look of this film is great, with the meticulously detailed Production and Set Design really standing out. The Special Effects are strong, but slightly dodgy in some cases (yet still some of the strongest of any Netflix film). The majority of action beats are appropriately thrilling as well, although two are a bit too chaotically confusing for their own good. And the Score by Alexandre Desplat is simply wonderful — alternating between whimsy, melancholy and white knuckle thrills on a dime. Everything about the way The Midnight Sky looks and sounds is terrific.
After multiple release date changes and some troubling rumours, Netflix finally cleared up any and all confusion about The Cloverfield Paradox tonight. Once called God Particle, once called Cloverfield Station, we finally have the third entry in the loosely connected Cloverfield series. And despite some excitement earlier this evening with Netflix’s bold decision to drop a teaser during the Super Bowl — for a film that would start streaming immediately following the big game — the long awaited film is not all that great.
Rather than type up a full review (it is almost 2 AM after all), I figured I would just deliver a few thoughts on the film, and do my very best to avoid some of the more spoilerish elements. Continue Reading