First it was borderline personality,then severe depression,
yesterday, she said it was antisocial with schizoid tendency.
She’s basically just flipping to random pages of the DSM-5and throwing medications at me.
But I have a perfectly healthy brain.
It just doesn’t contain feelings.
There are films that aren’t much of a story and still leave a certain impression. The same applies to “Thoroughbreds” where two teenage girls, each with a specific personality disorder, come up with a plan to kill someone. The two haven’t seen each other for a long time. An eternity in which much has changed. One grew up in a rich family while the other knew a past in which the killing of her own horse played an important role. But despite the contradictions, the old friendship bond is restored. And before they know it, they are planning a murder together. Strange but true. Although it’s about a murder, it’s actually a funny and comic film. Especially because of the fascinating conversations full of dry, nonchalant humor. Sometimes it seems like the two young girls are totally insensitive people. Which is applicable to one of them.
Two tasty actresses.
The two main roles are played by two young actresses whose earlier performances I could appreciate. Physically they both look appetizing. Only Anya Taylor-Joy, who takes care of the role of Lily, has a more unique look with those big Bambi eyes. Olivia Cooke, on the other hand, is more the cliché image of the beautiful girl next door who’s slowly changing into a sensual young lady. The type of girl you’ve already met in countless feature films. Maybe that’s why Anya Taylor-Joy appeared in movies like “The Witch“, “Morgan“, “Split” and “Marrowbone“. All of which I enjoyed. Although I was kind of disappointed about “The Witch“. Not because of the acting. I was expecting more of a horror instead of a medieval drama.
Dead serious and funny at the same time.
Olivia Cooke’s acting was breathtaking and extraordinary in the film “Me and Earl and the dying girl“. A film that’s difficult to surpass. Even though her acting in “The Signal“, “The Quiet Ones” and “Ready player one” (although the emphasis was on the visual part) wasn’t so bad, the quoted film really stands out. But what she shows in “Thoroughbreds” as the apathetic Amanda, can compete with it. This was an enjoyment from start to finish. The way she plays the personality of Amanda is truly magnificent. And even though this film is meant to be deadly serious, her attitude will unintentionally cause comical situations.
I bet you didn’t see that one coming.
“Thoroughbreds” is such a type of film which is difficult to pin down to a specific genre. Yes, it’s indeed a crime film about two eccentric girls who are brooding on a devilish plan. And yes, unintentionally there’s also that comical approach through the behavior of the two ladies and the way they interact with each other. And wait till you see the unexpected ending which makes it all seem sinister. But if you think about it longer, you’ll agree it’s a logical outcome. “Thoroughbreds” is not exactly an easy movie in terms of genre. It is a fascinating film with the emphasis on the character and psyche of the protagonists. The fact that an intriguing and ingenious twist has been given to it only makes it more interesting.
I was fascinated by the conversations. Bizarre.
So if you like a well-thought-out story that isn’t simply crafted up, then you should definitely give this film a chance. And besides that, you can also enjoy Anton Yelchin, who unfortunately died in a sad accident, once more. I thought the last film he acted in was “Green Room“. But most of all, it’s the literary jousting that takes place between the two female main characters that made an impression on me. It sometimes seemed like a Shakespearean play that uses fancy words in a subtle dialogue. I never thought a conversation would fascinate me. The wonders of the world are not yet out.
My rating 7/10
FrightFest 2020 Review: Don’t Look Back
For the second time in 2020, the Arrow Video FrightFest has gone online after cancelling the physical event that was planned to take place in Leicester Square from October 21-25. Despite not being in person, FrightFest still has plenty of films and scares to be had.
Don’t Look Back is the directorial debut from Jeffrey Reddick who’s best known for creating the Final Destination film franchise. Reddick’s directorial debut has many similarities to Final Destination; in Final Destination, we see a group of people cheat death and so death comes for them. In Don’t Look Back, it’s karma that comes to kill them. Despite the similarities, Reddick manages to show that he’s got a lot to offer in the director’s chair.
Don’t Look Back follows a young woman called Caitlin, played by Kourtney Bell, who is still overcoming her traumatic past when she, and a few others, witness a man being attacked in the park and none of them do anything to stop the attack. The witnesses including Caitlin then start getting targeted by someone, or something out for revenge.
The film begins with phone-footage of witnesses watching people being attacked. Instantly the film starts to make you question what you would do in these situations and if you would just stand and watch or would you be the one to intervene and to help the victims?
Don’t Look Back gets straight into it as very early on we get a scene that gets straight into the action and sets up the trauma that Caitlin then experiences for the rest of the film. Whilst the films does get straight into it at the start, it does go a little quiet for some time. One slightly disappointing thing about the film, particularly when compared to Final Destination, is that there are very few scares in this film. There isn’t much blood or gore or actual horror to it which is a shame, but the film is still entertaining without any of that.
The film plays a lot on the idea of karma ad it’s an interesting concept to play about with although at times it can be a little too on the nose. Sometimes all of this, in particular the film’s opening, and the idea of karma is just waved in the audience’s face far too explicitly and perhaps a slightly more subtle approach would have been better.
Overall, whilst Don’t Look Back isn’t anything too exciting or different and it could do with a few more scares, it’s not bad and fans of Final Destination will definitely enjoy it and have a good time with the film.
Don’t Look Back is in cinemas and available on-demand in the US now
LFF 2020 Review: Possessor
London Film Festival is almost over and there’s been a lot of good stuff over the last couple of weeks. The 64th BFI London Film Festival has been all across the UK, inviting you to experience the world’s best new films wherever you are. Twelve days of UK premieres available to enjoy online via BFI Player or in cinemas at BFI Southbank, around London, and throughout the UK.
Possessor (also known as Possessor: Uncut) is the latest film from Brandon Cronenberg, son of David Cronenberg, who’s known by horror enthusiasts as the king of body horror. Brandon has clearly learnt from the best as could be seen from his 2012 debut film Antiviral starring Caleb Landry Jones. Brandon’s second feature film, Possessor premiered at Sundance Film Festival in January and was released in America and Canada on October 2nd. I managed to catch an early preview of it at London Film Festival before it’s UK release at the end of November.
The film follows Andrea Riseborough’s Tasya Vos, an agent who inhabits other people’s bodies through a new technology and in doing so she commits assassinations to benefit her company. But slowly she starts to lose control over the system and finds herself trapped in the mind of Christopher Abbott’s Colin when trying to kill his father (Sean Bean).
Right from the start Possessor is a very gruesome and gory film. It opens with a very brutal and bloody killing that throws us straight into the futuristic world of the film. If the name Cronenberg on the poster didn’t already tell you, within minutes, we know that this film is not going to be one for the faint-hearted. The premise of the film is a little over the top, with the whole idea of inhabiting other people’s bodies and being able to control them. But it’s one that Cronenberg handles with ease and skill. As well as gore.
The film is disturbing but it’s carried out in a stylish manner so that it never really feels too disturbing. If you’re not a horror fan, or if you’re not someone that can handle much gore, then this isn’t a film for you. But if you relish the films of David Cronenberg then you should definitely seek out Brandon’s film.
Whilst the film does have its ultra-violent moments, there’s more to it than that; Andrea Riseborough gives a good performance in the lead role and helps bring life to the main character and the world the film takes place in as well as the bodies Tasya takes over. There are a lot of interesting ideas to unpack in this film and whilst Cronenberg doesn’t really get a chance to deal with them all in sufficient detail, he takes a good stab at it.
Overall, Brandon Cronenberg has created a film that’s a clear step up from his debut film and a welcome addition to the body horror genre that leaves you shocked but also excited to see what he goes on to make next.
Possessor is released in U.K. cinemas on November 27.
LFF 2020 Review: Rose: A Love Story
London Film Festival is well underway and there’s a lot of good stuff available now and coming your way over the next few days. The 64th BFI London Film Festival is all across the UK, inviting you to experience the world’s best new films wherever you are. Twelve days of UK premieres are available to enjoy online via BFI Player or in cinemas at BFI Southbank, around London, and throughout the UK.
Before I get into it, I do want to highlight that it’s quite hard to talk about this film without giving it away or spoiling anything. This review will be completely spoiler-free so you don’t have to worry about spoilers however the review might be a little brief or vague as I don’t want to divulge any key points or anything that could ruin the viewing experience for you.
Rose: A Love Story is the directorial debut from Jennifer Sheridan and once film starts it instantly hooks you with a very interesting premise. Rose (Sophie Rundle) and her husband Sam (Matt Stokoe) live in a secluded woodland where Rose spends her time writing and Sam tends to vegetables and attempts to trap rabbits. But there’s a deeper mystery to their lives. We don’t really get any backstory for either of our two main characters and yet it doesn’t matter. Right from the start, you have questions you want answered and it keeps you hooked. We don’t know much about what’s going on but nonetheless we are intrigued to find out more.
However, whilst the film opens well and you want to know where it’s going, it doesn’t do a whole lot more than that. It’s a horror film although there isn’t a whole lot of horror in it which is a little disappointing. I was expecting a few more scares from the film than were delivered. I might even go so far as to say it’s also a drama film and it isn’t completely a horror. And it does walk some well-known horror tropes to the point that you can see where it’s going before it gets there if you‘re a horror film enthusiast.
As a result of all this, as well as some pacing issues in the second act, it does start to get a bit dull. The ending is good but not great because I found myself being able to predict where it was going and what was going to happen.
Even though the film was made pre-COVID-19, there are some interesting ideas regarding isolation and cabin fever in this film- and there are even face masks too!
Overall, Rose: A Love Story starts off with a really strong set-up but ends up doing very little with it making the rest of the film somewhat uninteresting and creating a rather predictable conclusion.