When the big confrontation comes, Come Play has already proven, despite its monster’s prodigious chompers, to be rather toothless. Decent . When I would ask her why she didn't tell me she needed help she would say "I shouldn't have to ask. Some have actually criticised the material for being mundane - I REALLY don't understand that. What Sorogoyen couldn’t show directly due to budgetary constraints he evoked in dialogue and mise-en-scène, while turning the inherent time limit into a narrative device: the last bar of a cellphone battery. The performances manage to save something though. I don't know what they have in the water down under, but chances are if you're watching an indie film that shocks you, arrests you, and amazes you with its innovation, at least over the past five years or so, it's come from Australia. Winkler’s film opens with the announcement of a blissfully naïve and typical dream. In it, Laugier suggests that there’s no way to escape from the pain of the exclusively physical reality of his film. Steve is having a fabulous birthday so far. This study of human loneliness and the prickly crawlspace between adolescence and adulthood is also an unexpectedly poignant queering of the horror genre.

You don’t watch Laugier’s harrowing feel-bad masterpiece—rather, you’re held in its thrall. Yes, this movie is probably the height of sickness.

Before this horrific event is even resolved, Weekes again cuts away to reveal that this is neither a prologue nor a flashback, but rather the vivid nightmare of a Sudanese man, Bol (Sope Dirisu), reliving the terror of a night he experienced a year earlier alongside his wife, Rial (Wunmi Mosaku), and daughter, Nyagak (Malaika Wakoli-Abigaba). But if you don't mind an interesting flick which is based on a bad marriage and a screwed up housewife, then you may enjoy it. To say that he drove her crazy, even if true in a way, doesn't make her any less crazy.

The characters in those other films feel like human beings, while Elin and Tobias are less surprising automatons stuck in a vice of repetition that mirrors the process of recovery and nothing else.

A tense and dramatic psycho-thriller that mostly takes place in a single day, Alexandra's Project is a dense and confronting film that savagely explores the notions of sex within a marriage. Elena recognizes something of Ivan in this 16-year-old boy, sparking an epilogue that stretches out until it overwhelms what the viewer thought was the story proper. I was nervous and afraid from beginning to end.

Now, I wouldn't really describe the events of "Alexandra's Project" as sick or disturbing. This entire film is being narrated solely by her and I feel this is a one-sided story. He makes for quite the presence, but his hungers ultimately lead him to oblivion. The couple had been living in a crumbling estate owned by Ben’s family, and Charlotte hadn’t wanted to keep the pregnancy, but both situations come to change after Ben’s death. FAQ Tellingly, Jungleland only comes back to life at its conclusion, when the film’s soundtrack makes way for, yes, a Springsteen song (his cover of “Dream Baby Dream”).

His easy chair is all ready for him, with a VCR and television waiting.

When he arrives home, everything is dark, all the light bulbs have been removed, nobody is in sight, not his children, not his Wife, nobody. But the plot was just too weak.

And based on the only two I have seen so far, the movies are remarkable. Suspense with no ending is. Throughout, Remi Weekes forcefully, resonantly ties the film’s terror to the inner turmoil of his characters. Not unlike I Spit on Your Grave, the Australian film Alexandra’s Project is quite literally a psychological thriller. Failures. Connie’s half-flippant, half-frightened approach to the possibilities of sex reaches an apotheosis that’s as anticlimactic as it is devastating, as the film leaves unseen and unsaid the denouement of her entrapment by Arnold while making clear that she’s been deeply rattled by it.

The film’s hero, Charlotte (Tamara Lawrence), works at a stable in the English countryside, where, one gray and foggy day, a horse kicks and kills her romantic partner, Ben (Edward Holcroft). Unfortunately, every character has been established as such a specific type—the tough guy, the brain, the laidback rocker, the sarcastic jerk, and so on—that it doesn’t take much mental agility for the viewer to guess how they’ll eventually behave in this violent free-for-all.

Props to the Australian Film Commission for backing such ballsy work.

He’s hiding under a tree trunk, he says, but the stranger finds him as the line goes dead. That’s akin to saying that all an apple ever really symbolizes is an apple, and that symbols and subtexts essentially don’t exist. Dem Trailer zum Film gelingt das Kunststück, Interesse zu wecken, ohne allzu viel von der Handlung preis zu geben. The punishment seems out of all proportion to the "crimes" committed, so that the film becomes no simplistic pro-feminist tract but is, on the contrary, more complex and disturbing.

Dracula has “crossed oceans of time” to find Mina, and Coppola shows how the cinematically preternatural similarly finds and seduces audiences—how movies offer their own sparkle of immortality. These moments cut to the heart of the terror of loss driving Koko-di Koko-da, which is named after a nursery rhyme played by a music box that Maja receives for her birthday, and Nyholm springs another potentially devastating concept that soon locks the film in a holding pattern. The utilization of slasher-film motifs in the service of exploring grief also doesn’t make much sense. Tom manages to get his hand on a machine gun, and he carries it around with him protectively as the audience wonders to themselves how he’ll answer the question posed in the title.

Rodrigo Sorogoyen’s 2017 short Madre didn’t just make the most of its constraints, it embraced them. It's the tension and performances that pull you through, never letting your attention stray from what's going down on-screen. Einen kleinen Schlussgag kann sich aber auch Rolf de Heer nicht verkneifen (am nächsten Morgen klingelt es an der Tür...). The resulting anarchy unleashed by the Gremlins during the yuletide season is appropriate, considering they were created when Zach Galligan’s Billy, like an official advocating free-market deregulation, ignored foreboding warnings that terror would occur if he had just stuck to the three simple rules of caring for Gizmo, the cutest of all Gremlins.

When I would ask her why she didn't tell me she needed help she would say "I shouldn't have to ask. Even without much in the way of actual pocket cash, Connie and her friends become different people while roaming stores. This can't really save the movie though. Because so much of what happens cannot be anticipated, it's a difficult film to review in any detail.

The only explanation that occurs to me is that audiences are so alienated by the material that they can't notice a) Gary Sweet and Helen Buday's amazing performances, b) tight direction, c) brilliant sound and film editing and d) eerily effective cinematography. Bram Stoker’s Dracula is noteworthy for how un-scary it is, and yet Coppola’s fanciful movie tool-box conceits, in perfect sync with Oldman’s deliciously over-the-top performance, exert an overpowering sense of the uncanny.

A children’s e-book called Misunderstood Monsters keeps appearing on the screen of Oliver’s digital devices, claiming that the monster just wants a friend, and that he’ll be loosed upon the physical world once the story has been read all the way through. Fifteen+ years later, I still find this an amazing film.

This is one of the worst movies I've ever seen in my life. Rarely do I watch a movie produced and directed by a major commercialized production compay. To label "Alexandra's Project" as a feminist statement or even a thought-provoking humane drama would be far too much honor. If the short embodied panic at the prospect of loss, the feature is a more contemplative affair, about how memories of loss linger and distort the present.

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