Even though this is an extremely well-made film, it's difficult to know who will enjoy it, as it's far too arty for horror genre fans and much too grisly for arthouse moviegoers. But those who like something a bit different will enjoy it, especially since this remake takes a very different approach to the original 2010 Mexican film. Both films are about families who indulge in cannibalism as a long-standing tradition, but the similarities end there.
This version is set in small-town America, where an unusual number of young women have gone missing over the years, and a recent flood has unearthed human remains downriver from the Parker family farm. Frank Parker (Sage) is in mourning after his wife dies in the storm, and responsibility for the family's Lambs Day feast now falls to eldest daughter Iris (Childers), assisted by younger siblings Rose and Rory (Garner and Gore). But Iris is reluctant to carry out the gruesome tradition, and would rather hang out with cute young Deputy Anders (Russell). Meanwhile, Frank is increasingly worried about nosey neighbour Marge (McGillis) and the investigations of the local doctor (Parks) and sheriff (Damici).
"This is what we do," the Parkers remind themselves as they prepare their dinner of human stew. And screenwriters Mickle and Damici really dig into the family's past, which stretches to events nearly 240 years earlier, stirring American history into the intriguing cultural subtext. Mickle also remembers to freak us out with hints and suggestions in every scene, from ominous noises in the Parker's shed to a secret journal that outlines the family's traditions. The actors play their roles just below the surface, with muted emotions and subtle glances that tell us more than dialogue ever could.
Continue reading: We Are What We Are Review
Jim Mickle, Bill Sage, Julia Garner, Kassie DePaiva and Nick Damici - Planet Hollywood Times Square Presents the upcoming suspense thriller 'We Are What We Are' - New York, NY, United States - Tuesday 24th September 2013
After his family is killed, teen Martin (Paolo) is taken under the wing of Mister (Damici), a gruff hunter who mercilessly stalks vampire/zombies. As they cross middle America in search of a rumoured safe zone called New Eden, they meet a friendly nun (McGillis), an ex-marine (Nelson) and a hot pregnant teen (Harris). They also run afoul of an extremist religious cult led by the vicious Jebedia (Cerveris), who believes the vampires are God's judgement on society.
And he starts hunting the hunters.
Continue reading: Stake Land Review
What, now you want to know why it's so bad? Where to begin? A heaping slop of half-thoughts, Cut exists so squeaky-clean Meg Ryan, trapped in a career spiral, can play against type with meager results. It begins with women turning up dead in a grimy lower Manhattan neighborhood. Assorted clues point Detective James Malloy (Mark Ruffalo) to the door of disheveled English professor Frannie Avery (Ryan), who happened to be in a local bar the night a fellow patron turned up dead.
Continue reading: In The Cut Review
Using the sentimental ditty "Que Sera Sera" to eye-rolling effect as an ironic theme for a victim-protagonist with dangerously poor romantic judgment, Jane Campion's erotic thriller/murder mystery "In the Cut" proves to be neither erotic (who would want to sleep with a creepy cop who always wears a deceitful grimace?) nor thrilling, but merely baleful and unpleasant.
Adapted from Susanna Moore's 1995 novel in a collaboration between author and director, the film stars Meg Ryan -- in a welcome, commanding departure from her screen-sweetheart career trap -- as an emotionally wary creative writing teacher at a Lower Manhattan high school who becomes the unwitting center of gravity in a series of gruesome dismemberment murders of young women.
But the plot turns on her psychologically reckless relationship with Mark Ruffalo ("You Can Count On Me"), the pushy, callously manipulative lead detective on the case, with whom she falls into bed even though she's suspects he may be the killer, having seen a man bearing his distinctive three-of-spades tattoo embroiled with the first victim in the shadows of a local dive shortly before her death.
Continue reading: In The Cut Review
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