Thursday, October 20, 2022
Kids in small towns spend a lot of time wishing for something, anything to happen. In Nyla Innuksuk’s feature directorial debut, the sci-fi horror Slash/Back, a group of friends get their wish in the form of an alien invasion on the longest day of the year. When extraterrestrial interlopers show up in the remote, barely-sub-arctic Inuit village of Pangnirtung, it’s up to Maika (Tasiana Shirley) and her pals Jesse (Alexis Wolfe), Uki (Nalajoss Ellsworth), and Leena (Chelsea Prusky) to save the day. And the visitors definitely learn that “nobody fucks with the girls from Pang.”
Friday, October 14, 2022
A long-lost documentary about an isolated Peruvian penal colony directed by a long-time collaborator of Werner Herzog? You had me at hello, Sepa: Nuestro Senor de los Milagros (Sepa: Our Lord of Miracles). And the newly restored film does not disappoint.
Wednesday, October 12, 2022
With Dark Glasses, his first film since 2012’s Dracula 3D, horror legend Dario Argento wants to remind you that, even at 81, he can still make a Dario Argento movie. Most, or at least many of his cinematic trademarks are present and accounted for. We’ve got striking colors, an unseen killer terrorizing young women, and a Goblin-esque score that could be lifted from one of the director’s late-70s/early-80s works, among other touches. While it doesn’t reach the highs of his more iconic films, it’s quick and efficient, fits solidly in his wheelhouse, and certainly rates higher than much of his recent output.
Thursday, October 6, 2022
“How come you’re always covered in blood?” This single line of dialogue between characters accurately encapsulates Project Wolf Hunting, the new action movie from writer/director Kim Hong-sun (The Chase). The answer is also relatively simple: because there is so, so much blood in which to be covered. Not only is the movie over-the-top violent, but every last wound is an absolute gusher, just nonstop blood spurting out of heads and necks and severed limbs of all varieties. Everything is some combination of slippery and sticky and showered in red.
Monday, October 3, 2022
The Elderly, from Spanish co-directors Raul Cerezo and Fernando Gonzalez Gomez, taps into a number of primal, deep-seated fears. Ideas of our bodies aging and betraying us touch on body horror; there’s the dread of losing our autonomy, in both a physical and mental capacity. It has something to say about how society values, or more accurately, doesn’t value the aged, attends to the looming specter of Spain’s fascist past, which may not be as far in the rearview as many believe, and even copes with the threat of climate catastrophe.