Wally (Lesley Smith) is a lesbian who has never been abused by a man. Unfortunately, her friends have, as have many young women they know. Tired of hearing about the pain these women have suffered and the abusers not facing any consequences, Wally starts taking the law into her own hands. As her vigilante tactics become more brazen, so too does her desire for blood.
Watching Compulsus is akin to receiving a shotgun blast to the chest — or in this case, getting the shit kicked out of you. Writer/Director Tara Thorne has composed a picture that is seething with rage. Rage for the women who have suffered. Rage for the shitty men who got away with it. Rage for the complete normalcy of gender-based violence. The fact that this film premieres at Inside Out the same week of the Johnny Depp/Amber Heard trial verdict is a sheer coincidence (or dumb luck on the part of the programmers), but it makes the story in Compulsus all the more frightening relevant.
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.
Based on some of the tweets I have been seeing on Film Twitter this past week, I feel confident saying a whole lot of people are going to proclaim this newest incarnation of Texas Chainsaw Massacre as the worst movie of the year. Maybe even the decade. Perhaps even of the entire franchise that has spanned six decades and counting. After that first trailer hit a few weeks ago, it is an easy target. The film revolves around a group of Gen Z entrepreneurs descending into a deserted, rundown Texas town they may or may not own all of the property deeds to, and selling each building to young investors looking to invest their money in an untapped real estate market. It all feels a little too on the nose and their running into Leatherface (Mark Burnham) feels all too well choreographed — and a not so subtle take on the implications of gentrification. Not one of these characters is well characterized, no matter how much time they have on-screen. With the exception of one minor individual, the rest spend the movie as lambs acting and reacting to their being led to slaughter.
So if you are hoping for more nuance, depth or a reason for this “requel” to exist…you likely will not find any of that here and should probably just skip it.
On the other hand, if you are looking to quench a bloodthirsty itch for young people getting destroyed by chainsaws and sledgehammers, well then you are in luck! Because Texas Chainsaw Massacre is extremely pleased to deliver on those fronts, by the bucket load.
Alex Dall (Isabelle Fuhrman) is a queer college freshman looking to make a name for herself. She overdoes it on her studies — frequently writing tests twice or three times in the time it takes everyone to do it once — and is obsessed with being the top of the pack. She joins the university’s rowing team in order to prove how much better she is than the rest of her teammates, and begins to push herself to physical and mental extremes in order to succeed. And she does not care who gets in her way of doing it.
In her debut feature, Writer/Director Lauren Hadaway has created a singular and hypnotic vision of the lengths one young woman takes to succeed. The film premiered at the Tribeca Film Festival earlier this year and was just nominated for five Independent Spirit Awards, including Best Picture and Best Director for Hadaway. I watched the film a few weeks ago on a whim, and found myself unable to look away from the intensely wild ride Hadaway has created. While it would be incredibly easy to compare it to Damien Chazelle’s unforgettable Oscar-winner Whiplash (and believe me when I say people have already started to), The Novice feel like it is so much more than that.
A hot shot young Hollywood agent named Jordan (Jim Cummings) is in the middle of planning his wedding to Caroline (Virginia Newcomb) when he receives an anonymous letter in the mail. He opens the letter and discovers an invitation to a hotel for a sexual encounter. He disregards it immediately, but comes back to it and ends up going through with it. Racked with guilt and curiosity, Jordan begins looking into the why and how he was targeted — and quickly becomes ensnared in something so much bigger than he ever could have imagined.
Akemi (musician MASUMI) is a Japanese orphan living in São Paulo, Brazil. She has had extensive fight training since she was a little girl, but has very little idea about her past. When her grandfather is murdered and mysterious stranger Shirô (Jonathan Rhys Meyers) saves her life with an ancient sword, Akemi quickly discovers she is the heiress to half of the Yakuza crime syndicate in Okinawa. And the other half happens to want her dead.
For a film called Yakuza Princess, you might expect a non-stop action thriller with that kind of synopsis. And while there is certainly some action and thrills scattered throughout the film, it is actually more of a slow moving drama about a young woman discovering her past and coming to terms with the destiny in front of her. There is a lot of exposition, even more backstory and a whole lot going on between characters in Okinawa and São Paulo (which houses the largest population of Japanese people outside of Japan). It gets a bit overwhelming at times, and some moments have a languished pacing that can be trying even at the most exciting of times.
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.
Beckett (John David Washington) is an American tourist traveling through Northern Greece. After a tragic car accident, he finds himself on the run from the police and embroiled in the middle of a political conspiracy. With a language barrier and no one to turn to, Beckett must rely on himself and the kindness of strangers in order to survive.
Beckett may sound interesting on paper, but after the initial prologue, it very much devolves into watching Washington run through Northern Greece for nearly 2 hours and not much else. It takes a few turns and drops in a few thrilling moments (along with some gorgeous outdoor vistas and visuals), but it fails to keep your interest and never really feels like a cohesive picture. The conspiracy driving the film is more of a MacGuffin than anything else, and we never really get to know any of the characters or their motivations beyond the surface level. The film moves slowly, yet never stops to deliver any sense of introspection or depth. It just keeps focusing on Washington either getting injured, running or struggling to avoid dying.
After an extended prologue, we flashback to Elias (Carl Anton Koch) checking himself and his mother Nadja (Peri Baumeister) in for an overnight flight from Frankfurt to New York. She is sick and not with him; instead taking heavy drugs in her hotel room and prepping for an experimental treatment in the US. Shortly after getting in the air, terrorists seize control of the plane and start making demands and taking hostages. Nadja gets caught in some crossfire and is believed dead — that is, until she reveals herself to be a vampire hellbent on protecting her son from harm.
Yes, you read that right. Nadja is a vampire and she is stuck on a transatlantic flight filled with mostly innocent passengers turned hostages and a batch of deadly terrorists, including the enigmatic Eightball (Alexander Scheer), who seems to have it out for her. What could possibly go wrong?
As Fear Street Part Three: 1666 opens, Deena (Kiana Madeira) has flashed back to 1666 and inhabits the body of the infamous Sarah Fier (also played by Elizabeth Scopel). As Deena learns some long hidden truths about Fier and the curse she placed on Shadyside, she must also race against time in 1994 to save her girlfriend Sam (Olivia Scott Welch) before it is too late.
The end of Fear Street is here. All the secrets are laid bare, all the puzzle pieces have come together and Co-Writer/Director Leigh Janiak has completed her film trilogy based on R.L. Stine’s book series. As I have mentioned in a past review, I was excited at the prospect of a three-film series of interconnected films being released over three weeks in the middle of what is traditionally the summer blockbuster season. While I had my reservations about the structure and plotting, I watched each film enthusiastically – or as enthusiastic as possible – and have no idea how I would have survived if the films were released in theatres months apart from each other. It truly is the kind of franchise I would have adored as a teenager and young adult.
All of that to say, Part Three is my favourite of the films and left me very bloody satisfied.