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Showing posts with label Mystery. Show all posts
Showing posts with label Mystery. Show all posts

Saturday, September 18, 2021

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Nocturne the movie showtimes complete download uhd online 2020 hd Nocturne song, Watch Nocturne full movie online now.An incredibly gifted pianist makes a Faustian bargain to overtake her older sister at a prestigious institution for classical musicians.,what are Nocturne movies in order Nocturne synopsis full movie Nocturne 2020 HD Movies, Full Length Movie
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Title : Nocturne
Nocturne genre : Horror, Mystery, Thriller
Nocturne crew : Matthew Myers, Jason Blum, Cecil Gentry, John McAlary, Lisa Bruce, Andrew Drazek, Carmen Cabana, Fodhla Cronin O'Reilly, Kimberly Graczyk, Ryan Neill
Nocturne release date : 4 August 19 1 6
Nocturne runtime : 90 Minutes
Nocturne Crew : Matthew Myers, Jason Blum, Cecil Gentry, John McAlary, Lisa Bruce, Andrew Drazek, Carmen Cabana, Fodhla Cronin O'Reilly, Kimberly Graczyk, Ryan Neill
Nocturne movie cast :
Sydney Sweeney, Madison Iseman, Jacques Colimon, Ivan Shaw, John Rothman, Rodney To, JoNell Kennedy, Julie Benz, Brandon Keener, Miles McKenna
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An incredibly gifted pianist makes a Faustian bargain to overtake her older sister at a prestigious institution for classical musicians. Nocturne 2020 review :

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Thursday, September 16, 2021

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Title : Relic
Relic genre : Horror, Drama, Mystery
Relic crew : Avy Kaufman, Jake Gyllenhaal, Anthony Russo, Joe Russo, Brian Reitzell, Wang Zhonglei, Steven Jones-Evans, Glenn Newnham, Wang Zhongjun, Anna McLeish
Relic release date : 5 April 19 6 9
Relic runtime : 89 Minutes
Relic Crew : Avy Kaufman, Jake Gyllenhaal, Anthony Russo, Joe Russo, Brian Reitzell, Wang Zhonglei, Steven Jones-Evans, Glenn Newnham, Wang Zhongjun, Anna McLeish
Relic movie cast :
Robyn Nevin, Emily Mortimer, Bella Heathcote, Chris Bunton, Steve Rodgers, Catherine Glavicic, Jeremy Stanford, Christina O'Neill, John Browning, Robin Northover
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When Edna—the elderly and widowed matriarch of the family—goes missing, her daughter and granddaughter travel to their remote family home to find her. Soon after her return, they start to discover a sinister presence haunting the house and taking control of Edna. Relic 2020 review :

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Sunday, June 6, 2021

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Vivarium the movie 2019 showtimes complete online 4k Vivarium song, Watch Vivarium full movie online now.A young woman and her fiancé are in search of the perfect starter home. After following a mysterious real estate agent to a new housing development, the couple finds themselves trapped in a maze of identical houses and forced to raise an otherworldly child.,what are Vivarium movies in order Vivarium synopsis full movie Vivarium 2019 HD Movies, Full Length Movie
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Title : Vivarium
Vivarium genre : Science Fiction, Horror, Mystery
Vivarium crew : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy
Vivarium release date : 27 December 19 6 0
Vivarium runtime : 97 Minutes
Vivarium Crew : Kristian Eidnes Andersen, Kristian Eidnes Andersen, Patrick Ghislain, Tony Cranstoun, Brendan McCarthy, Niamh O'Loan, John McDonnell, Catherine Marchand, Colin Jones, Philip Murphy
Vivarium cast :
Imogen Poots, Jesse Eisenberg, Eanna Hardwicke, Jonathan Aris, Senan Jennings, Molly McCann, Danielle Ryan, Olga Wehrly, Jack Hudson, Michael McGeown
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A young woman and her fiancé are in search of the perfect starter home. After following a mysterious real estate agent to a new housing development, the couple finds themselves trapped in a maze of identical houses and forced to raise an otherworldly child. Vivarium 2019 review : ‘Vivavirum’ slots in neatly next to Jocelyn DeBoer and Dawn Luebbe’s ‘Greener Grass’ and Richard Stanley’s ‘Color Out of Space’ to form a loose trilogy of deeply surrealist releases in 2019 that skewer our perceptions of suburbia and the family unit. Director Lorcan Finnegan has brought to life a disturbing, thoughtful and bleakly funny mutant of a movie.
- Jake Watt

Read Jake's full article...
https://www.maketheswitch.com.au/article/review-vivarium-what-makes-a-house-a-horrific-home
Pretty pointless movie. Signed up to review because I couldn't believe the rating this received. Yes, you get a weird realtor and a creepy kid but other than that you just watch the couple basically repeat each day hating being stuck. You're not going to learn anything more about the weird freaks or why they're doing what they're doing and will end up feeling like you just wasted your time. Yeah, I get it's supposed to be satire but pass.
> **_Review on Horror Focus_**

This indie sci-fi thriller Vivarium from Irish filmmaker Lorcan Finnegan is many things, one definitely being quite the head-scratcher. Not because of it being an intellectually challenging story, or one that is laced with twists and turns to create an unpredictable viewing, but a film that delivers a narratives so peculiar that it is like something you've never seen before. Take this with a pinch of salt, as there's certainly aspects which don't make the landing of such an ambitious plot, but let it also be known that Vivarium contains some impressions visual and narrative storytelling, enough to forgive some of the mid-act waffle that cripples the films momentum.

Finnegan gets the ball rolling with power, keeping the story taught enough that we are thrown straight into the mystery early doors. This works extremely well as the tension begins to bubble within the first ten minute mark. The performances here from our main cast member already begin to show their brilliance, especially Jonathon Aris who sets a chilling foreshadowing tone with his appropriately eerie character Martin. The small (yet effective) amount of screen time we have with Martin is enough to set the tone, and we, like Tom and Gemma are forced to endure something that is so ominously intense that it leaves a lingering sense of dread.

Unfortunately, this soon begins to simmer once Finnegan establishes the plot in its whole, and realisation settles on the simple fact that, after the 30 minute mark, there really isn't much else for the story to go. Yes the labyrinth maze of suburbia is strangely terrifying, and the strenuous repetition is effective, but after 15 minutes of having the child introduced, Vivarium begins to fall flat, and grow increasingly more stale up until after the sixty minutes in. The fantastic Poots and Eisenberg, and the deadpan humour do prevent this film from becoming a little too one-note, but this doesn't exuse more than a few scenes that will be a task to sit through, even in these current homebound world we are living in.



There is a glimmer of brilliance in Finnegan's choice of release here, as what our main couple are enduring is poetically reflective of the life we are living in this mad pandemic virus. I found myself identifying with the irritated attitude our characters develop, and sympathised with them when their child (the boy) was well deserving of a slap. Vivarium is intelligently relative right now, and can definitely be perceived as as Finnegan holding a mirror up to the idealistic yet treacherous concept of what makes the perfect home, and the urge to be the perfect family.

In fact, there's so much underlying aspects of Vivarium that are so incredibly reflective of the inevitable repetition that comes once a spunky couple are weighed down by family life, securing their "ideal" home and tolerating each others impurities under the same roof constantly. Finnegan exposes the dangers of the nuclear family here, and forces us to endure it too, warts and all. We even get those little moments in which Tom consistently chips away, digging a whole, not to be talked to, helped or interrupted by Gemma, who becomes a slave to ensuring nothing but contentment for their boy. This moment is humourous with a dark sting, and will be reflective of reality to many, but to those inside Vivarium is nothing but a nightmarish loop.

This distorted utopia Finnegan creates is what's most effective, orchestrated by a Burton-esque palette that is as gorgeous as it is hauntingly off-kilter. The early 80's, Romero's Day of the

Dead-like synth is undeniably effective, and carries the tension through to the final act, which although doesn't hit a payoff point that excuses the slow middle act, does add to the bankers reality Finnegan has crafted, and highlights the eeriness established from the beginning. While Vivarium does lose a tone of momentum when it hits the mid-way point, by the time it reaches its end, I can't shake the distinct feeling of unease I had to endure for over eighty minutes, and I can't deny that a film like this was an experience I have quite been exposed to before. I have been feeling really under the weather these past few days, and let's just say this only made me feel worse. Great job, I guess?


VERDICT
Vivarium is a simplistically disturbing suburban nightmare with a captivating story and little room for growth. Enduring its drab middle act may prove tricky, but once Finnegan blows the dust of the eerie intensity established from the beginning, you'll find there is much to be desired with this unsettling little indie-sci-fi thriller.
Amazing watch, will watch again, and can recommend.

Imogen Poots and Jesse Eisenberg (both from "The Art of Self Defense") are amazing in their roles as an abducted couple force to raise a child.

This is an amazing premise (see "Solar Opposites" for something similar), and one that is extremely hard to discuss without spoilers. This is a wonderful mix of tropes. There is a prisoner / abductee trope, there is "adoption of a strange child" trope, there is a "troubled couple" trope, there is even a mystery trope.

I'm fully of the opinion that the right thing to do in any abduction situation is to not reward the criminals with what they want because there is no reason that while they have all the power that they're going to do anything to benefit the victims. We get see an exploration of what people do in a dire situation and given a task, similar to a couple different "Twilight Zone" episodes.

The production value is clearly here, and while they appear to have saved some money on limited locations, it clearly put to good use as the movie delves deeper into its story.

I can't recommend this enough, please give it a shot all the way through.
Sci-fi thriller, just not _"on the edge of sit"_ type. Lorcan Finnegan remakes his short film **Foxes** and adds a life message to it.
It's a movie whose premise had promise but was never thoroughly explored.

I read the generally high praise in the reviews for this movie and admittedly, I was fooled. I'm convinced that at least the individual here who likened part of its premise to the animated series, "Solar Opposites," while not being entirely off the mark, neglected to mention that unlike Solar Opposites, there is no payoff with Vivarium. Unlike Solar Opposites, we don't know why Vivarium exists. We don't know why people are expected to raise these mysterious hominids. We don't know what their purpose is, other than to entrap first home buyers, like some kind of otherworldly predatory lender. Is it a euphemism for unscrupulous property developers? Who knows?

Only thing I know is that by the end of it all, I felt totally ripped off. At around 90 minutes, it was 60 minutes too long. It's not even something that I can suggest is open to much interpretation.

If you just need something playing in the background while you're performing other work at home, even then it may be a stretch but it certainly doesn't deserve much better.
Vivarium was eerie and creepy, and definitely a movie that will mess with your head, albeit probably in ways other than you anticipated. You'll be tricked in the beginning into believing this movie is actually a sociological observation of the slow and robotic death of suburban life: you and your nuclear family settle into middle class conformity in a large, seemingly endless design of mazes and hedges, condemned to repeat the endless cycle of home, school (or work), home, sleep, rinse and repeat. And it certainly gives one those unsettling vibes, especially when the creepy box with the build-a-baby arrives at their prison doorsteps.

Rather, this is something else entirely. While it does well maintaining that nearly subtle sense of wrongness, of something being terribly just _off_, in the end, you may find yourself somewhat disappointed, as it is at this precise moment the film becomes like every other movie of its kind out there. Quite possibly, it is the end that is the most disturbing, for it seems to insinuate that humanity is as disposable as livestock.

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Wednesday, May 26, 2021

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Title : Abigail
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Abigail crew : Alexandr Boguslavsky, Alexandr Boguslavsky, Tatyana Patrakhaltseva, Viktor Denisyuk, Evgeniy Melentev, Yury Nikogosov, Andrey Anaykin, Natalya Frolova, Vladislav Ogay, Alexandr Kurinsky
Abigail release date : 28 July 19 9 2
Abigail runtime : 110 Minutes
Abigail Crew : Alexandr Boguslavsky, Alexandr Boguslavsky, Tatyana Patrakhaltseva, Viktor Denisyuk, Evgeniy Melentev, Yury Nikogosov, Andrey Anaykin, Natalya Frolova, Vladislav Ogay, Alexandr Kurinsky
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Monday, May 17, 2021

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Children of the Sea crew : Joe Hisaishi, Shinji Kimura, Eiko Tanaka, Ayumu Watanabe, Ken'ichi Konishi, Ken'ichi Konishi, Daisuke Igarashi, Moaang, MYOUN
Children of the Sea release date : 12 January 19 2 9
Children of the Sea runtime : 110 Minutes
Children of the Sea Crew : Joe Hisaishi, Shinji Kimura, Eiko Tanaka, Ayumu Watanabe, Ken'ichi Konishi, Ken'ichi Konishi, Daisuke Igarashi, Moaang, MYOUN
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Thursday, April 15, 2021

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Ready or Not genre : Horror, Thriller, Mystery, Comedy
Ready or Not crew : Brian Tyler, Andrew M. Stearn, James Vanderbilt, Brad Fischer, Joanna Moore, Tripp Vinson, Matt Bettinelli-Olpin, William Sherak, Eric Bryson, Mark DeSimone
Ready or Not release date : 9 September 19 3 2
Ready or Not runtime : 95 Minutes
Ready or Not Crew : Brian Tyler, Andrew M. Stearn, James Vanderbilt, Brad Fischer, Joanna Moore, Tripp Vinson, Matt Bettinelli-Olpin, William Sherak, Eric Bryson, Mark DeSimone
Ready or Not cast :
Samara Weaving, Adam Brody, Henry Czerny, Andie MacDowell, Melanie Scrofano, Elyse Levesque, Kristian Bruun, John Ralston, Mark O'Brien, Nicky Guadagni
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Once again, I didn’t know anything going into the theater regarding this movie. In fact, Ready or Not wasn’t even on my watchlist until the beginning of this week. I thought it was just going to be a passable and cheap horror flick, but the tremendously positive feedback from everyone around the world convinced me to give it a go. Fortunately, I wasn’t disappointed! Matt Bettinelli-Olpin and Tyler Gillett deliver a dumb yet entertaining film with a childish yet fun concept never really explored in the gruesome and bloody way they do.

It’s one of those movies which the only flaw they might have has to do with the viewer’s expectations. You’ll only dislike this story if you don’t accept its lighthearted tone. If you go in expecting a film filled with truly terrifying and scary sequences, you won’t get that. If you go in expecting a movie with a dark vibe and tonally heavy scenes, you won’t get that. It’s one of the most common issues that audiences have all over the world: unrealistic expectations. After watching the trailers, it’s clear that Ready or Not was always marketed as a horror-comedy with more emphasis on the dumb fun that the concept inevitably provides, so don’t expect something the producers didn’t even think of doing.

Having that in mind, the film definitely delivers what it promises. It’s a fast-paced hide-and-seek game, filled with suspenseful scenes and genuinely funny moments. Its short runtime doesn’t really let us care about every character, but to be fair, it’s not like it truly matters in this case. Samara Weaving plays the bride who has to hide while the rest of the family tries to find her. Overall, everyone gives good performances, but Weaving completely steals the show with fantastic reactions to different situations, always making space for an extra laugh.

Despite the unique exploration of a strange premise, it has a pretty generic and even formulaic development, which is a bit of a letdown. Granted, the ending is, well, unexpected in the way that it is executed, but its final result is still very predictable. There’s a lot of cheesy moments, some do work, but others aren’t near as effective. The score is actually one of the surprises since it’s not usual for this feature to have such an impact in a rather simple movie. It provides a few chuckles with some witty lyrics, and it helps with elevating the suspense in the more tense sequences. It’s also mostly well-shot and set in one-location, something I always deeply appreciate.

All in all, Ready or Not accomplishes exactly what it set out to do. It delivers a fun and entertaining 90-minute hide-and-seek game like we’ve never seen before. Its R rating lets its makers do whatever they please with the amount of blood and goriness present in a scene, which ultimately culminates in a jaw-dropping, hilarious ending. Samara Weaving is brilliant as the main character, carrying the whole film on her shoulders. Is it cliche? Yes. Is it formulaic and predictable? Yes. Is it cheesy? Hell, yes. However, this movie never intended to be a groundbreaking achievement in the genre. It just wants to deliver good fun. And it does.

Rating: B-
**_An entertaining horror-comedy that takes aim at the decadence and insularity of the 1%_**

>_So distribution should undo excess,/And each man have enough._

- William Shakespeare; _His True Chronicle Historie of the life and death of King Lear, and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humour of Tom of Bedlam_, 4.i.73-74 (1605-1606)

>_In the long run, men inevitably become the victims of their wealth. They adapt their lives and habits to their money, not their money to their lives. It preoccupies t__heir thoughts, creates artificial needs, and draws a curtain between them and the world._

- Herbert Croly; _The Promise of American Life_ (1909)

>_I don't want to be married just to be married. I can't think of anything lonelier than spending the rest of my life with someone I can't talk to, or worse, someone I can't be silent with._

- Mary Ann Shaffer; _The Guernsey Literary and Potato Peel Pie Society_ (2008)

On August 3, 2018, Patrick Crusius murdered 22 people and injured 24 in a mass shooting in El Paso, TX. Just over 12 hours later, Connor Betts murdered nine people and injured 17 in a mass shooting in Dayton, OH. On August 10, Universal Pictures announced they had pulled Craig Zobel's eagerly awaited film _The Hunt_ from its scheduled release date on September 27. Telling the story of 12 strangers who are hunted for the amusement of a group of wealthy elites, in the wake of the shootings, the film had been accused by hysterical conservatives of portraying liberal elites hunting Donald Trump supporters. On August 7, for example, Matt Margolis of _PJ Media_ wrote,

>_in the past few days we've been hearing a lot about how Donald Trump's rhetoric is apparently to blame for the El Paso shooting, yet Hollywood apparently lacked the foresight to think that a movie promoting violence against "deplorables" might be in bad taste until after the shootings in El Paso and Dayton._

He also claimed, incorrectly, that the film was originally called _Red State Vs. Blue State_, before concluding,

>_apparently, some in Hollywood are more than willing to promote violence against Trump supporters. Meanwhile, Democrats and liberals in the media want us to believe that it's Trump's rhetoric that needs to be toned down._

On August 9, Trump himself tweeted, "_the movie coming out is made in order to inflame and cause chaos_" (as opposed to his own balm-like rhetoric, which is renowned for bringing people together), saying of Hollywood in general, "_they create their own violence, and then try to blame others. They are the true Racists, and are very bad for our Country!_" (because responding to a mass shooting by condemning a film you haven't seen makes way more sense than, oh, I don't know, tightening gun laws and outlawing the indefensible sale of automatic weaponry to the public. Way more sense).

So, what does any of this have to do with _Ready or Not_? Well, it's just curious that _Ready or Not_ has a very similar plot (elites hunting common folk), yet it has arrived in theatres without the slightest hint of controversy. Of course, despite what right-wing commentators would have us think about _The Hunt_, the theme of elites hunting the less privileged is nothing new. As far as I'm aware, it was first explored in Richard Connell's short story "The Most Dangerous Game" (1924). And now in _Ready or Not_, except with tongue firmly in cheek. Written by Guy Busick and R. Christopher Murphy (aka Ryan Murphy), and directed by Matt Bettinelli-Olpin and Tyler Gillett, _Ready or Not_ is a horror-comedy and a social satire that comically exaggerates the anxieties attendant with marrying into a wealthy family and mocks the insular nature of such families, so obsessed with their wealth that they've become disconnected from the real world. And whilst it can be a tad episodic at times, and the manner in which it presents some of its violence is somewhat problematic, this is a very enjoyable and funny film that's well worth checking out.

After a brief prologue, the film cuts to the wedding day of Grace (an exceptional Samara Weaving) and Alex Le Domas (Mark O'Brien). The Le Domas family started out printing playing cards but earned its fortune making board games, and the family has now become decadently wealthy, owning several sports franchises (when Grace asks Alex if they refer to themselves as an "empire", he half-jokingly says they prefer the term "dominion"). Several years previously, Alex turned his back on the family, even though he's in line to inherit the business, and it's only since he met Grace (a foster child eager to have a family to call her own) that he has started to rebuild bridges. His return to the fold has made his mother Becky (Andie McDowell) especially happy, and she makes sure Grace knows how appreciative she is. Alex's father, Tony (a barely sane Henry Czerny) is more ambivalent; he's polite and respectful to Grace, but she's convinced he doesn't like her. There's no such ambiguity with Helene (a hilariously acerbic Nicky Guadagni), Tony's sister, who makes no bones about the fact that she hates Grace. Elsewhere there's Alex's brother Daniel (Adam Brody), an alcoholic locked in a loveless marriage to Charity (Elyse Levesque), but who is deeply thankful that he has Alex back in his life. Offering Grace a get-out-of-jail card just prior to the wedding, Alex tells her if she wants to leave, he will let her go. She dismisses the offer, however, and the two are wed. Shortly thereafter, Alex and Daniel's cocaine-addicted sister Emilie (a wonderfully hapless Melanie Scrofano) and her husband Fitch Bradley (a scene-stealing Kristian Bruun) arrive at the estate, apologising for missing the ceremony. It's at this point that Alex explains a strange family tradition to Grace – whenever someone new marries into the clan, they must participate in a game, chosen at random by a mechanised box using a deck of cards (Charity got checkers when she married Daniel). Alex is worried that Grace might get the hide and seek card, but Tony assures him that's highly unlikely – stating that in his lifetime, only one person has ever gotten that card; Helene's husband (something of which we saw in the prologue). At a disturbingly austere ceremony, Grace is asked to operate the box and so the game can commence…and she receives the hide and seek card, with Tony explaining that the only way for her to win is to stay hidden until dawn. And so, Grace hides in the mansion, unaware that the family (_sans_ Alex) are arming themselves with crossbows, axes, hunting rifles, and assorted antique weaponry. This is no ordinary game of hide and seek.

The film's various psychoanalytical/satirical subtexts are fairly obvious – a lampooning of blue blood families clueless as to how the real world works, a savage deconstruction of the institution of marriage, and a gynocentric/fempowerment celebration of a woman fighting back against old-world patriarchy. In relation to these last two themes, nowhere are they more apparent than in Grace's wedding dress, that most classic symbol of marriage, which becomes dirtier and more damaged as the film progresses, with costume designer Avery Plewes using the dress to show the stages of Grace's symbolic dismantling of the institution of marriage (to survive the night, she must make the dress more conducive to running and hiding, which involves a lot of ripping and tearing). In this sense, each time Grace evades capture or strikes back against her pursuers, she is chipping away at the foundation of everything in which the Le Domas family believe, quite literally deconstructing the very concepts of marriage and old-world patriarchy.

Concerning the film's engagement with wealth, essentially it suggests that, yes, as we all know, the rich are very different from you and I, but could it be that not only are they different, maybe they're actually evil? Maybe their wealth is built on the suffering of others in a very literal sense and maybe the difficulty they have accepting it when someone who they see as their social inferior marries into their circle manifests itself in actual violence. Of course, it's not suggesting this with anything even approaching realism, and much of the film's humour comes from the Le Domas family itself; sure, they're wealthy, evil, violent, and powerful. But so too are they hilariously incompetent. For example, it's been so long since anyone has got the hide and seek card that everyone is a little fuzzy on the rules, and they spend a good chunk of the film arguing with one another about the hunt – people like Fitch and Charity want to use modern weapons, but Tony maintains they have to use antique weaponry, nor are they allowed to use the castle's security cameras to track Grace.

This all goes back to a century-old deal made between the family's original patriarch Victor and a mysterious traveller named Mr Le Bail, who may, or may not, be Satan. Le Bail promised Victor that the family would become hugely wealthy, but only if they maintained the tradition of having new family members play a game on their wedding night, laying out the rules for what was to happen if they got the hide and seek card. Tony argues that the rules can be no different from those originally established by Le Bail, but, really, his argument never amounts to much more than "_tradition...reasons_". The film makes no bones about the fact that the family is comically inept, and it gets a lot of laughs out of showing characters trying to get to grips with their weapon – from Fitch taking time out from the hunt to look up "how to use a crossbow" videos on YouTube to Emilie accidentally dispatching several maids due to her inability to handle her weapon (more on this in a moment).

Another theme, although one not developed to the extent of the above, is religion. Le Bail, for example, is believed by the family to be a demonic figure, and his name, obviously enough, is an anagram of Belial, the demon from the Tanakh, who is described in _The War of the Sons of Light Against the Sons of Darkness_, one of the Dead Sea Scrolls, as the "King of Evil" and the "Prince of Darkness", and who would later form the basis for the Christian and Jewish depiction of Satan. On the other hand, Grace's name most likely references the idea of Divine grace, which is defined by _ChristianEducation.org_ as,

>_a sharing in the divine life. It is the infused presence of God, a presence that is supernatural, not merely natural. Human persons are not born in a state of grace. And there is nothing we can do ourselves to earn grace. Rather, divine grace is favour, and it is freely bestowed._

Elsewhere, the film depicts a pit of slaughtered goats, alluding to ritual animal sacrifice, which is a pre-Christian practice. Goats are also important in Christianity, especially in the practice of scapegoating, whereby a goat takes upon them the sins of the community and is cast into the desert, symbolically removing the taint of those sins (as per Leviticus 16:8-10; "_Aaron shall cast lots upon the two goats; one lot for the LORD, and the other lot for the scapegoat. And Aaron shall bring the goat on which the LORD's lot fell, and offer it as a sin offering. But the goat, on which the lot fell to be the scapegoat, shall be presented alive before the LORD, to make an atonement with him, and to let him go for a scapegoat into the wilderness._") Along the same lines, Grace injures her hand on a nail, in a veiled reference to the Stigmata. However, whether or not we're supposed to interpret her as a Christ figure is hard to say as, although these references are interesting in isolation, they never really coalesce into anything concrete.

Looking at some other problems, despite its themes, the film is, generally speaking, very slight; it's short and it's silly, and it's not going to change your life or lead you down the road of esoteric revolution. The violence is also (somewhat) problematic. The film maintains the stance that the rich are insane and the violence they mete out is contemptible. However, some of the biggest laughs are reserved for Emilie's accidental killing of the maids. And I have to admit, I found the way she haplessly dispatches two of them exceptionally funny (especially her comment after the second one, "_why does this keep happening to me_"). Also funny is that after one of the kills, the family are trying to have a conversation, which is continually interrupted by the gurgling of a mortally wounded maid; until Helene takes an axe to her head. And again, I have to admit, I laughed a lot at that scene, even though I recognised that the film was essentially asking the audience to see this violence as funny but some of the violence elsewhere as not so much.

In this sense, it kind of wants to have its cake and eat it. In _Natural Born Killers_ (1994), Oliver Stone gets away with asking the audience to laugh at horrific violence because he's fairly consistent in depicting all violence as funny (whether it's being shot by a bullet that stops in mid-air, getting drowned in a fish tank and simultaneously beaten with a tire-iron, having a perfectly circular hole shot through your hand, or having your head literally ripped off by rioting inmates). Here, the film picks and chooses when the audience should laugh; it takes Grace's stakes seriously but also encourages us to laugh at some (and only some) of the violence, which is problematically inconsistent.

Nevertheless, as I said, these scenes did make me laugh, so make of that what you will (it may say more about me than the film). Although _Ready or Not_ is slight, its satirical ire is focused, even if the tendency towards irreverence doesn't always chime with the tone of the socio-political agenda. Is it the greatest horror-comedy of all time? Good Lord, no. Indeed, it doesn't have much in the way of scares at all. But it sure is funny, allegorically skewering inherited wealth, marriage, tradition, even religion on occasion. With atavistic rules and sense of entitlement, the Le Domas family embody the concept that old-money can lead to an insularity from modernity, preventing the work-a-day world from entering their gated estates. Offering us a match, the film suggests that perhaps the only way to deal with such irrelevancies and their sense of self-importance is to burn them to the ground. And it has a blast showing us why.
‘Ready or Not’ doesn’t sport as many laughs as you'd want for this ridiculous story, nor is it dark enough to be a true horror; it's just gory and violent with the occasional jump scare and anxiety-ridden scene. So while it doesn’t meet expectations or desires, it’s still a fun, thrilling, wicked romp through the blood-soaked mansion and goat barn.

So prepare yourself for squeals of fear, squeals of delight, squeals of patriotism and the occasional giggled “WTF!?”... because here it comes!
- Jess Fenton

Read Jess' full article...
https://www.maketheswitch.com.au/article/review-ready-or-not-not-quite-horror-not-quite-comedy-but-a-wickedly-good-time
Fun little horror-thriller-(dark)comedy that was entertaining enough and features a great performance from Samara Weaving, who has similar command of the scene like her uncle. Story-wise, not groundbreaking but as someone who generally doesn't enjoy dark comedies, this one worked for me. **3.5/5**
I've never kept it secret that I have a personal issue with Samara Weaving, but I try to keep things like that out of my mind, and, even though I know it's impossible to be truly objective about something as subjective as art, at least attempt to be **impartial**. And bearing that in mind, _Ready or Not_ is... Okay. Pretty good even. Disappointing, if I'm honest, given the hype and the trailer, but still. Pretty good.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
Fantastic watch, will watch again, and do recommend.

This is such a great crazy, survivalist premise: an average lady that just wants to marry her man gets served up into a human hunting game, and she's a bad ass. Samara Weaving nails every aspect of this role. I did recognize a couple other actors: Melanie Scrofano (Wyanna Earp), Adam Brody, and Andie MacDowell, but none of the family really stands out other than Melanie, and that is more of circumstance, but they put the right person in that role at least.

The setting is limited to the estate grounds, but even if they built the sets for that place, it is bloody amazing and lends to the visuals both when they're displaying the house as being expansion and when they're showing it as a trap.

I'm actually short on words to why it is as good as it is, the writing is top notch and the set it great, but the acting is only good (other than Samara), and there aren't huge effects. Maybe it's the subtly of the effects they do show, and the details they go into in both presentation of the scene and the chosen dialogue. This movie definitely creates a permeable atmosphere for the audience.

If you're okay with blood / gore / violence, then give it a go, it should be a good time.
The excellent Samara Weaving is the antithesis of a scream queen. With kick-ass roles in "The Babysitter," "Mayhem," and "Guns Akimbo," she is vying with Harley Quinn as the "vixen" of modern cinema. An outrageous story with just the right balance of camp and horror, "Ready or Not" is a fun romp through the worst-ever wedding night.

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Friday, March 12, 2021

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Title : Enola Holmes
Enola Holmes genre : Crime, Drama, Mystery
Enola Holmes crew : Jina Jay, Kim McGarrity, Giles Nuttgens, Giles Nuttgens, Tom Sayers, Consolata Boyle, Michael Carlin, Michael Dreyer, Michael Dreyer, Peter Afterman
Enola Holmes release date : 23 July 19 0 9
Enola Holmes runtime : 123 Minutes
Enola Holmes Crew : Jina Jay, Kim McGarrity, Giles Nuttgens, Giles Nuttgens, Tom Sayers, Consolata Boyle, Michael Carlin, Michael Dreyer, Michael Dreyer, Peter Afterman
Enola Holmes movie cast :
Millie Bobby Brown, Henry Cavill, Sam Claflin, Helena Bonham Carter, Louis Partridge, Adeel Akhtar, Fiona Shaw, Frances de la Tour, Burn Gorman, Susan Wokoma
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While searching for her missing mother, intrepid teen Enola Holmes uses her sleuthing skills to outsmart big brother Sherlock and help a runaway lord. Enola Holmes 2020 review : If you enjoy reading my Spoiler-Free reviews, please follow my blog @
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2020 is unquestionably one of the most challenging years movie theaters ever had to face. The still going global pandemic closed down everything, including my favorite place to spend the most wonderful time. Therefore, the already growing streaming services got a huge bump, earning more and more subscribers during this tough phase in our lives. Netflix has been extremely busy releasing brand-new flicks since the beginning of the year, being The Devil All The Time, I’m Thinking of Ending Things, and Project Power the latest. Some better than others, but I’m still to find a 2020’s original film from the studio that I genuinely dislike. Is Enola Holmes the first one?

Well, no, far from that. With such a talented cast and high production value, a new take on the classic Sherlock Holmes’ mysteries is certainly welcome, and this is one of my top two compliments. Debutant director Harry Bradbeer and Jack Thorne (His Dark Materials) offer a refreshing twist on the famous detective’s stories, not only by focusing on her less popular sister instead but also by delivering a different Sherlock than the one we’re used to seeing. The editing (Adam Bosman), cinematography (Giles Nuttgens), and score (Daniel Pemberton) contribute to quirky, fun, captivating scenes that help the viewer follow Enola’s assessment of several situations, including her thought process (interpretation of clues, formulating plans), most of the times by breaking the fourth wall.

This last aspect takes me to my other top two praise, Millie Bobby Brown. She’s the reason why these sequences work so well. From the moment I first saw her in Stranger Things, I genuinely believed she would be a star. For the past few years, I’ve constantly left in writing that she will break the Oscars’ record for the youngest actress to ever win a Best Actress award. Millie still has a bit more than five years to achieve that, and she’s already leading major blockbusters like Godzilla: King of the Monsters. With this Netflix movie, Millie proves once again her versatility (already portrayed completely different characters in distinct genres), emotional range (effortlessly delivers any type of scene), and mature acting (rarely overacts or doesn’t offer enough, she’s always on point).

She incorporates Enola in such a unique manner that I struggle to find a better choice to play this character, who is herself also a standout. Enola’s arc feels genuinely empowering. It doesn’t feel like a forced political statement nor a narratively illogical decision to develop this character in the way Thorne does. Every enigma she tries to decipher, every plan she needs to create to save someone or something, every choice she makes feels earned and justified. Enola doesn’t let herself be restricted by old society’s rules of how the world should work. She wants to be herself without having to answer to nobody. It might be a generic message, but it’s transmitted through seamless execution.

Regarding the rest of the cast, Henry Cavill is a major surprise as Sherlock, and I won’t be shocked if it generates some controversy (update: it did). It’s a notably different version of the distant, emotionless, overly analytical Sherlock that Robert Downey Jr. and Benedict Cumberbatch interpreted, which I embrace with open arms. I don’t care about rights or origins. A character is what the actor and writer(s) make of it, it doesn’t belong to anyone let alone its “fans”. Cavill shows a cheekier display than what he’s used to presenting, and Thorne adjusted a couple of specific traits from the classic character. Louis Partridge and Sam Claflin are both excellent as Lord Viscount Tewksbury and Mycroft, respectively. The remaining actors all offer decent performances, but the two standouts are undoubtedly Millie and Cavill.

As for the film itself, I was ready to write “it’s fine” half an hour before I finished it. Even though it feels unique in several areas, Enola Holmes still follows a pretty generic story, with formulaic plot points and the usual character drama. Sadly, it doesn’t really bring anything new story-wise. It features no surprises, which is not a good attribute for a movie with a central mystery. However, that lack of enthusiasm leads me to a significant issue I didn’t expect to find in the latter half of the film. Its mystery isn’t truly one, and it’s set aside midway through the movie, which is a questionable narrative decision. I don’t remember the last time (if ever) where a film completely discards its main storyline (one that received an entire first act of set up), replacing it with a young-adult romantic endeavor (which is pretty convincing, but not as a main storyline).

I’m a firm advocate of the trailer-free methodology. Expectations can make or break the viewer’s opinion about a movie, and nowadays, trailers can be deceiving, misleading, and show way too much. I missed everything related to this film, watching it 100% blind. Had I watched Enola Holmes’ official trailer beforehand, I’d definitely be inclined to the negative side of the divisive line I stand on right now. Its trailer focuses on what most people will expect from the movie: the main mystery surrounding Enola’s mother disappearance. Considering how the film actually goes, it’s safe to write that its trailer is a bit deceiving.

All in all, Enola Holmes offers a pleasant, refreshing take on a franchise that might have a new future now. Focusing on Sherlock Holmes’ sister, Harry Bradbeer and Jack Thorne deliver a light, fun, entertaining story, packed with action, clues to decipher, and a brilliant cast. Millie Bobby Brown keeps climbing up the stairs of success, demonstrating her versatility, range, and maturity as a young actress. It’s a matter of time until she becomes one of the most coveted actresses in Hollywood. Her chemistry with Henry Cavill and Louis Partridge is phenomenal, and her fourth wall breaks are fascinating. Technically, Enola’s thoughts and feelings are perfectly transmitted to the audience through outstanding editing, cinematography, and score. However, story-wise, it’s as generic as it could be, boasting absolutely no surprises, and a central mystery that’s not quite one. It’s still a fine Saturday night flick to enjoy with family and friends but be advised: its trailer is a tad misleading, so keep your mind open and expectations grounded.

Rating: B-
Really good watch, might watch again, and can recommend.

To absolutely fair, I'm not sure if this will appeal to Sherlock Holmes fans, but does expand the "Sherlock-verse", so make up your own mind.

I love Millie Bobby Brown ("Stranger Things"), and this proves she is quite capable of not only leading a movie, but carrying the entire bloody thing.

Despite what feels almost a lack of contribution from everyone else in the movie, this actually turns out quite good. I do wish she didn't do the fourth wall breaks, it really feels like she's either turning to a documentary crew or suddenly updating instagram. It was a little jarring, and they're clearly referencing Sherlock's "mind palace" techniques displayed in the movies, but with a "twist".

I honestly expected someone to ask her if she's okay, like in "Dora and the Lost City of Gold". It would have been equally acceptable to do narration over her actions in the same, but I understand wanting to do something different.

The only other people that didn't seem to be phoning it in were Burn Gorman who did quite a good antagonist, and Frances de la Tour who managed to elevate "concerned grannie".

Maybe Sam Claflin did the job perfectly and Mycroft is supposed to be that bland and irritating, but Henry Cavill had an air of being relieved that didn't have to have Sherlock doing any real deductions, he just had to stand there and seem mildly intrigued by things.

Overall, there is a good movie here in spite of itself, and the sad part is that it could have been great.

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Thursday, January 21, 2021

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Evil Eye crew : Guy Stodel, Priyanka Chopra, Jason Blum, Lisa Bruce, Chris Dickie, Ian Watermeier, Rajeev Dassani, Jeremy Gold, Elan Dassani, Kyle Chalmers
Evil Eye release date : 8 March 19 0 4
Evil Eye runtime : 90 Minutes
Evil Eye Crew : Guy Stodel, Priyanka Chopra, Jason Blum, Lisa Bruce, Chris Dickie, Ian Watermeier, Rajeev Dassani, Jeremy Gold, Elan Dassani, Kyle Chalmers
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