What was once a man’s desperate quest to resurrect his lost lover ala Dracula has been turned into a petulant girl’s desire to reincarnate the god she serves ala Suicide Squad. Could there be a more fitting beginning to this venture? This is shaping up to be a cinematic universe in the same way that a mime doing the invisible box gag is shaping up to be an opera.
Alien: Resurrection is not unified by its cynicism as Robocop was. It’s not a satire of us, but just a satire of Alien movies. It’s never boring and that’s actually something, in the realm of fourth entries. The reason this film is in the category of “Everyone Else is Wrong” is not because I think it’s good, but because I don’t know what people were expecting.
Director James Cameron, hot off The Terminator, warps passed Ridley Scott’s harrowing and sensitive tale of psycho-sexual terror into two hours of sadistic fun, a haunted house in space, a boo movie elevated to mythic status. No one will blame you for being exhausted. This is the Citizen Kane of bug hunts.
In this film, the divisions that we value so much, out of which we create our sense of individuality, will victimize us to a terrifying monster of collectivity. The Thing absorbs and unifies life where suspicious and divided people destroy it. This is Invasion of the Body Snatchers accelerated to universality.
I have not in recent memory seen a film whose concept is more divergent from its filmmaking than The Cloverfield Paradox. It is a movie so dumbfoundingly predictable and yet so incomprehensible that it becomes meaningless even as an average film, a paradox only in the sense that its grand pretensions cannot occupy the same space as the need to connect a franchise that was never intended to be cohesive.
Carrie is great horror because it basically isn’t horror at all – beneath its skin, this film is really a coming of age tale. It takes the innocence of growing up and warps it into a Jungian nightmare realm of laughing faces and perverted desires. When Carrie ultimately becomes the villain, she does it with a straight face, which gives us the ability to understand her.
Every frame of The Wailing wades into dream space and out again. Nature in it becomes a backdrop not just to a murder investigation but to the primordial evils of human emotion that would make such an investigation necessary to begin with. We never know if people murder each other because of the anger pent up in a demonic spirit or just the anger pent up in themselves.