Fresh
Daisy Edgar Jones and Sebastian Stan, with perfect cast, played in this nightmare of turning rom com into a cannibal. They wonderfully constructed a budding romance in 33 minutes, and then released a sharp turn and a dark comedy title sequence. Stan, as an illegal salesman, unexpectedly deviated from the track, and he was a bit over the top about his latest human flesh source. Edgar Jones had a lot of fight in playing the woman who tried to lead the escape, while Laurine Kahn’s script avoided the choice that would make her leader look too gullible. “Fresh” will never lose momentum, even though it is the violent climax of justice through bitter aftertaste.It is a wonderful horror movie.
Men
Alex Garland’s latest nightmare is a fable about men controlling and igniting women too timely. In fact, “man” is a man with ten hands, starring talented Jesse Buckley, who is a woman on holiday in the English countryside after her husband committed suicide. Unfortunately, she was surrounded by dozens of men like insidious Lori Kinnear, who bravely portrayed almost all other characters, and his hostility to her was uncertain. Although the film provides little insight into gender dynamics, there are several indelible scenes that push the tension to 11 o’clock. The final scene is incredibly split and disgusting, and the horror movie aims to stimulate more discussion with each new audience.
Scream
Matt Bettinelli Olpin and Tyler Gillett directed the director duo of 2019’s clever thriller Ready or Not, which revived the Scream series with a new chapter better than expected. Traditional characters (Courteney Cox, David Arquette, and Neve Campbell) share screen time with sharp young actors (including Melissa Barrera, Jenna Ortega, and Jack Quaid), and there are many twists and turns and changing topics along the way. By re examining some of the best notes on franchise rights without relying too much on the past, the “scream” of meta design can keep a fresh sense and avoid potential pitfalls along the way.It is a good horror movie worth watching again.
Speak No Evil
A etiquette comedy has become the bleakest scene this year. Two families, one Danish and the other Dutch, met on vacation and gathered in the latter’s home to get rid of the old daily life. As differences in manners and cultural misunderstandings evolve into more sinister things, parties become more and more uncomfortable. Under the guidance of Christian Tafdrup’s claustrophobia, as well as the clever and cruel script jointly written with his brother Mads, the tension gradually escalated and released to several breakthrough points, finally ensuring that you can cancel the end of your next trip.It is such a cruel horror movie.
His House
Nothing can draw energy from the horror more than keeping the horror movie. Of course, movies can scare the audience in many ways, but at least one horror movie can be scary, rather than hilarious. Remi Weekes’ His House didn’t mess up. The film opens with a tragedy. Within 10 minutes of the opening, ghosts are scattered on the floor and across the stairs. His hero may trip over them, thus easily eliminating resentment. In the final analysis, this is an inherently sad horror movie that tells the story of immigrants. It is the sister of contemporary independent films such as Jonas Carpignano’s Mediterranea. It captures the dangers faced by immigrants on the road and at their destinations with brutal neo realism clarity. Weekes is deeply interested in Bol and Rial as people, where they came from, what led them to leave, and most importantly, what they did to leave. But Vickers is also committed to getting his audience out of their skin
It Follows
The spectre of Old Detroit haunted. At 12 Mile’s shabby ice cream stand, in Ferndale or Berkley’s 60s style ranch house, in the game of Parcheesi, teenagers with pale faces and no accent play. If you have never been there, you will never recognize the old and gray nostalgia that permeates every corner of David Robert Mitchell’s horror film. But it’s right there. It feels like southeast Michigan. Music, soft but extremely luxurious palette, constant untimely: in style alone, Mitchell is a director who seems to stand out completely from the unhealthy womb of the Detroit subway. From the rules of special isolation in the horror plot of the horror movie, to the young, fleshy and round faces and bodies of this small group of main characters, which are filled with circles and circles concentrically, the audience will never forget that in many ways, these people are still children. In other words, Mitchell knew his story well: this had happened, and it would happen again. If Mitchell did not care much about creating a really disturbing horror movie, all of these would not work. But every aesthetic prosperity, every perfectly round pot is injecting morbid life into a single image: someone, anyone slowly separated from the background, walked towards you from a person’s nightmare, as if death itself would suddenly appear beside you in public, ready to steal your breath at any time. At first, Mitchell’s entire conceit – to convey an unforgettable feeling through sexual intercourse – seemed to hide conservative sexual politics under the typical metaphor of horror films, claiming that it was a progressive type of horror movie, but it did nothing to promote our view of horror films in terms of function. If you commit adultery, you will be punished for your flagrant and loveless crime, right? (This film has more associations with Judd Apato than you think.) On the contrary, Mitchell never judged that his character did what almost every teenager wanted to do; He simply revealed the reality of adolescent sexual behavior through a complex fable. There is no principled implication behind Mitchell’s intention; The cold conclusion of sexual intercourse is that, to some extent, you are sharing your body with everyone who shares the same body with your partner. He accompanied this recognition with sincere respect and sympathy for various characters in any other horror movie. These characters are just the visceral fodder of the sadistic spirit, and elevate It Follows from the field of disguised moral games to the story of the coming era of morbid horror. Similarly, Mitchell knew by nature that there was nothing more creepy than the slightly abnormal ordinary people. He believed that the real horror of this film was that we forgot the tricks our brains played when we checked our surroundings. It Follows is a film that thrives on the border. It is not so much a horror jumping in front of you as a deeper anxiety waiting at the edge of consciousness – until a day soon, it will be there to remind you that your time is limited and you will never be safe. Forget about the risks of adolescent sexual behavior. It Follows is a profound metaphor for growth.
Watcher
Maika Monroe starred in another horror movie that she kept looking back after eight years after her brilliant performance in It Follows, which was the best stalker film since The Invisible Man in 2020. Monroe plays Julia, a lonely foreigner living in Bucharest who is aimless in supporting her husband who focuses on her career. She was sure that someone on the other side of the street was watching her, and she was more and more bold to pursue her nearby… Could this be the killer she often saw on the evening news? The “Watcher” confuses the color of the story of the back window of author and director Chloe Okuno, and shows the vulnerability of women living in cities. However, Julia is not a good person. She is a good password for those who are destined to spy on their neighbors and check every corner in the next few days
