A double-crossed hit man finds himself on the run with a mysterious young woman in Galveston (2018), a film that starts off like a dramatic thriller but winds up, like its characters, on an unexpected and affecting journey. Continue reading Review: Galveston
Fish-people are creepy. H.P. Lovecraft knew it, that one guy in “The Cabin in the Woods” knew it, and even “The Mighty Boosh”’s Old Gregg character would deter any right-thinking individual from renting a boat for some lonely night-fishing on a lake. It beggars belief, therefore, that the mere-community has been so underrepresented in cinema (barring a few B-movie schlock-fests, of course).
Thank Poseidon then, for Agnieszka Smoczyńska’s “The Lure”: a Polish horror-musical about Golden (Michalina Olszańska) and Silver (Marta Mazurek), two mermaids who make for dry land and earn a living as singers in a nightclub, while finding themselves getting in too deep with the humans they would otherwise be pulling down to the briny depths for dinner. Continue reading 31 Days of Horror, Day 20: The Lure
“Maleficent” still stands out as something of a black sheep within Disney’s recent live-action catalogue. Instead of a simple remake or sequel, the film instead presents a revisionist retelling of Sleeping Beauty from its villain’s point of view whilst also turning the narrative into an allegory for sexual assault and abusive relationships.
The final result was admittedly ambitious but sloppy and ill-conceived (you can read my recent reappraisal of its botched metaphors here), but it did well financially so a sequel was always on the cards. After covering the entirety of the original tale, where exactly Mistress of Evil has to go from there seems a bit nebulous on first thought but, and this is an especially relieving shock to me, the final results are far beyond what anyone would reasonably expect. Continue reading MALEFICENT: MISTRESS OF EVIL – an Alternative Lens review