[stextbox id=’info’ caption=’Authors note’]This post was written last year during October and was never released. If I’m going to be late, better to wait until Halloween 2020, right?[/stextbox] Well, it’s that time again: time to watch an obscene number of scary movies and shows in celebration of the month of Halloween.
For those that like a little dose of fictional fear and thrill each October, there are endless Halloween movie candidates. This year’s lineup for me was: The Boy The Endless Apostle Creep 2 Hush Holidays Hold The Dark I plan to also watch a couple TV shows, which I’ll cover later. Ghoul The Haunting of Hill …
Is it just me, or have there been a lot of robot-themed movies lately? I suppose it’s not really that surprising, as science fiction is one of the best barometers of cultural zeitgeists.
It seemed obvious to me that the character of Queen Elsa from Disney’s excellent Frozen had glimpses of similarity to Dr. Manhattan from Snyder’s excellent The Watchmen. Both had nearly infinite power, which detached them from their humanity and fellow humans. Each secluded themselves far away in a self-made palace as a way of both …
The planet Pandora has nothing — and I mean nothing — on the little moon SC-223. This place scared the (R-rated expletives) out of me; it was unnerving, frightening, dreadful, in all the ways that Pandora was not.
There’s something extremely fascinating about those rare individuals who function on a higher plane, however dysfunctional or detached from the rest of society. The art world, as any other, knows its prodigies and outsiders alike. Here a few good documentaries that cover a wide range of such people.
I suppose the comparison was inevitable, if not obvious. The new documentary Protagonist by Jessica Yu finds a good template in Errol Morris’ opus Fast, Cheap & Out of Control.
It’s been a long time since a movie scene made me honestly cringe under my collar out of anxiety.
Both are arty, but differ in delivery: vague impressionism versus creepy surrealism.
The difference between these films is like the difference between mere artistic license and historical revisionism: pageantry and fraud.