‘Irish horror movie’ isn’t a phrase that comes up a lot, unless someone brings up Grabbers, and why on Earth would anyone do that. And yet, Fantasia 2014 has seen the unveiling of Let Us Prey, a new horror film by first time director Brian O’Malley, which is already making waves in the horror film circuit, and with good reason. Let Us Prey is a tense, tightly-wound and effective horror film that shows incredible promise from O’Malley, and delivers both for gore fans and those in search of something a little deeper than mere exploitation.
Pouvoir intime, or Blind Trust if you’re of the Anglo persuasion, is a film that has more or less fallen through the cracks of time. It was issued on home video once upon a time, in the long-past age known as the VHS era, and hasn’t been seen in a newer format since. Luckily, some enterprising folks at the Fantasia International Film Festival got together with the Cinémathèque québécoise and got them to dust off their 35mm print of the film. Showing these kinds of movies serves a very specific purpose: they add depth and texture to a film culture that was still figuring itself out even in the mid-80s. That said, Pouvoir intime isn’t a dramedy about the middle class, or a political satire, or an NFB documentary. It’s a no-nonsense heist movie, a rarity even in today’s local film climate. So even if the film itself isn’t a groundbreaking take on the genre, it’s a fascinating glimpse into the process of giving established genres a distinct local flavour.
Marvel appears to have become an unstoppable brand. They’re planning for a time when they’ll be releasing four movies a year, and this in addition to myriad television shows and other materials. The bottom hasn’t fallen out of the superhero market yet, but who knows how much longer that will stay true. With Guardians of the Galaxy, though, the company is testing out a new card in its deck. While it’s set in the same universe established by the previous nine Marvel Studios films, it not only is able to stand alone from them, but isn’t even in the same genre as them. This is laser-age-style science fantasy, not super-heroics, and that’s a tremendous boost of vitality.
Typically, a brutal murderer’s wardrobe in a horror film is chosen because it’s spooky or hides some kind of physical deformity. It’s no accident in Aik Karapetian’s cruelly vile and unpleasant The Man in the Orange Jacketthat the titular killer dresses that way, and no surprise that he quickly sheds himself of his uniform at the first opportunity.
Fantasia 2014: The predictable elements of ‘Predestination’ are compensated with emotional satisfaction
That joke your grandfather told you could easily double for the pitch toPredestination, the new paradoxical time travel riddle by Australian directing duo The Spierig Brothers.
Based on Robert A. Heinlein’s short story All You Zombies,Predestination sees an unnamed agent (Ethan Hawke) for the temporal agency leap through time to catch an elusive serial murderer known as The Fizzle Bomber before he destroys over ten city blocks in New York. The only problem is the bomber seems to be aware of the attempts to stop him, as he keeps changing the specific day and time of his latest catastrophe. While undercover as a bartender, Hawke’s agent strikes up a conversation with a suspicious male-seeming figure who we later learn is inter-sex (Sarah Snook), whose heartbreaking life story may have more to do with Hawke’s assignment than he initially realizes.