Lee Cronin brings a refreshing creativity to Sam Raimi’s demonic horror in Evil Dead Rise, as he allegorically twists the image of a loving family into that of dysfunctional household, and lays into the terror of seeing one’s mother transform into a hideous, abusive creature.
It is a cruel twist of irony that sees writer Monk Ellison’s parody of exploitative Black novels exalted as a serious piece of literature in American Fiction, and one which Cord Jefferson wields impressive self-awareness over, sharply satirising the liberal elite’s attempts to assuage their white guilt by gleefully consuming African American trauma in media.
Denis Villeneuve’s extraordinary adaptation of Frank Herbert’s unfathomably vast imagination incidentally demonstrates his own in Dune: Part Two, further developing his elemental worldbuilding and biblical iconography through the darkly subverted monomyth of a prophesied Messiah, and pushing the parable’s cinematic spectacle to astonishingly creative lengths.
The working-class lovers of Fallen Leaves may be set back by personal flaws, but the string of unlucky coincidences playing a greater cosmic joke on them can’t be ignored either, as Aki Kaurismäki’s minimalist comedy-drama stubbornly seeks romance within the deadpan mundanity of downtown Helsinki.
It is in the anarchic rejuvenation of animation itself that Teenage Mutant Ninja Turtles: Mutant Mayhem fully embraces the rebellious spirit of its outcast heroes, emulating the sort of colourful scrawls and grungy imperfections that might be found in a teenager’s sketchbook, and vividly manifesting the coming-of-age tale which underlies its kinetic superhero action.
As Grant Singer methodically unravels the brutal murder of a real estate agent into a conspiracy that sprawls across the Maine property market, suspects and detectives alike chillingly shed their skins to reveal their true natures, giving metaphoric significance to the cold-blooded title Reptile.
Within May December’s dual character study, Todd Haynes draws disturbing psychological parallels between one method actress and the paedophile she is researching, carefully observing both predators win the unearned sympathy of audiences and neighbours alike through performances of astoundingly shallow substance.
It takes a special sort of inhuman cruelty to live in such close proximity to largescale genocide, profit off its spoils, and continue each day with no remorse, so the vast wall that divides Auschwitz from the camp commandant’s country house makes for a chilling visual metaphor of this in The Zone of Interest, as Jonathan Glazer shrewdly considers where history’s greatest evil truly lies.
Christopher Nolan looks set for a sweep at this year’s Oscars, but still we are left wondering – where is Wes Anderson?
The struggle up the corporate ladder has a long list of casualties in Fair Play, so when a promotion comes between secret lovers Luke and Emily, personal relationships and fragile egos are the first to be sacrificed to the vicious battles of sexes in the white-collar workplace.
