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88 Minutes | Horror | 2020-07-16
📥 Follow Me 2020
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98 Minutes | Horror, Thriller, Adventure | 2020-07-09
📥 Black Water: Abyss 2020
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'Black Water: Abyss' should have been a shrewd, scary situational suspense film along the lines of Alexandra Aja's minor classic 'Crawl' or Jaume Collet-Serra's underrated 'The Shallows', but a low budget, slack pacing and a lack of ideas sinks this one to the bottom of the swamp.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-black-water-abyss-abyss-mally-shoddy
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109 Minutes | Horror, Drama, Thriller | 1960-06-22
📥 Psycho 1960
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Psycho 1960 IMDb ~ Directed by Alfred Hitchcock With Anthony Perkins Janet Leigh Vera Miles John Gavin A Phoenix secretary embezzles forty thousand dollars from her employers client goes on the run and checks into a remote motel run by a young man under the domination of his mother
Psycho Definition of Psycho by MerriamWebster ~ Psycho definition is a deranged or psychopathic person —not used technically How to use psycho in a sentence
Psycho Definition of Psycho at ~ Psycho definition a psychopathic or psychotic person See more
Psycho 1998 IMDb ~ Directed by Gus Van Sant With Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen A young female embezzler arrives at the Bates Motel which has terrible secrets of its own
Psycho 1960 film Wikipedia ~ Psycho is a 1960 American psychological thriller film directed and produced by Alfred Hitchcock and written by Joseph stars Anthony Perkins Janet Leigh John Gavin Vera Miles and Martin Balsam and was based on the 1959 novel of the same name by Robert film centers on an encounter between a secretary Marion Crane Leigh who ends up at a secluded motel after stealing
Psycho 1960 Rotten Tomatoes ~ Alfred Hitchcock was a master at film and Psycho is evidence of the genius at work The film is unpredictable and showcases a wide range of challenges for the viewer
Psycho film by Hitchcock 1960 Britannica ~ Psycho American suspense film and psychological thriller released in 1960 that was directed by Alfred Hitchcock and is loosely based on the reallife killings of Wisconsin serial murderer Ed Gein After secretary Marion Crane played by Janet Leigh impulsively absconds from her job with
Post Malone Psycho ft Ty Dolla ign YouTube ~ Psycho ft Ty Dolla ign Official Video Song Available Now psychoYD Merch Available Here For More
Psycho 1998 film Wikipedia ~ Psycho is a 1998 American horror film produced and directed by Gus Van Sant for Universal Pictures and starring Vince Vaughn Julianne Moore Viggo Mortensen William H Macy and Anne Heche in leading and supporting roles It is a modern remake of the 1960 film of the same name directed by Alfred Hitchcock in which an embezzler arrives at an old motel run by an insane killer named Norman Bates
Ava Max Sweet but Psycho Lyrics YouTube ~ Ava Max Sweet but Psycho Lyrics SweetButPsychoID 🔔 Turn on notifications not to miss any uploads Ava Max
Required viewing.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
“We all go a little mad sometimes. Haven't you?”
A Phoenix secretary, Marion Crane (Janet Leigh), embezzles $40,000 and rashly flees town, ending up at a remote motel in Fairvale, California, where she encounters the eccentric Mama’s boy Norman Bates (Anthony Perkins). Mixed into this web is a private investigator (Martin Balsam), Marion’s sister (Vera Miles) and Marion’s secret beau (John Gavin).
Directed by Alfred Hitchcock based on Robert Bloch’s book, “Psycho” made a huge impact when it was released in 1960. It contains a plot development that was groundbreaking at the time shared by England’s “City of the Dead” (aka “Horror Hotel”), which went into production six weeks earlier than “Psycho” and was released in the UK at the same time, but not in America until 2 years later. While they’re both good, “Psycho” is way superior. It was followed by three sequels (1983, 1986 and 1990), the last being a semi-prequel, all starring Anthony Perkins as Norman with Vera Miles returning for the first one.
One thing I don’t like is that it was shot in B&W. Check out the sequels and the 1998 remake to observe the same settings in living color.
The film runs 1 hour, 49 minutes and was shot primarily at the backlot of Universal Studios, Universal City, California, with other parts in Los Angeles & Gorman, California, and Phoenix, Arizona.
GRADE: A
My most favourite film from the master of suspense.
This psychological horror is widely considered to be the first ever slasher film. Powered by great performances from Anthony Perkins & Janet Leigh, and the outstanding score by Bernard Herrmann which adds such great tension throughout the film, it is unarguably the greatest thriller ever made. Only Alfred Hitchcock could make a film so entertaining and so horrifying at the same time.
The climax continues to haunt me forever.
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84 Minutes | Horror, Drama, Mystery | 2020-11-20
📥 Saint Maud 2020
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'Saint Maud' is an insight into a very modern, very lonely existence that is sadly only too recognisable. It's a testament to how effective the film is that Glass aligns us closely with Maud to the grisly end, because she's really just acting on her own twisted nature, still looking for that elusive personal connection that will relieve a lifetime of loneliness. Glass delivers on so many levels as a writer/director that it's hard to believe this is her debut, establishing unease through suffocating mood, she finds fright in stillness, quiet, and isolation.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-saint-maud-religious-fervour-and-psychological-horror
**_Emotionally ambiguous, thematically complex, aesthetically daring – an exceptionally accomplished directorial debut_**
>_Qui est en droit de vous rendre absurde est en droit de vous rendre injuste._ [_Anyone who has the power to make you believe absurdities has the power to make you commit injustices._]
- Voltaire; _Questions sur les miracles_ (1765)
> _We all have a tendency to think that the world must conform to our prejudices. The opposite view involves some effort of thought, and most people would die sooner than think._
- Bertrand Russell; _The ABC of Relativity_ (1925)
> _Gli uomini non fanno mai il male così completamente ed entusiasticamente come quando lo fanno per convinzione religiosa._ [_People are never so completely and enthusiastically evil as when they act out of religious conviction._]
- Umberto Eco; _Il cimitero di Praga_ (2010)
Is religious fanaticism a form of mental illness? Certainly the "Four Horsemen" of New Atheism (Richard Dawkins, Daniel Dennett, Christopher Hitchens, and Sam Harris) would argue it is. However, from the perspective of the fanatic, such fanaticism is often not only logical and justified, but unavoidable; they don't choose to be fanatical, they are compelled to be fanatical, no matter how insane their behaviour may seem. The disparity between what a fanatic believes and what other people believe is the main issue examined in _Saint Maud_, the stunning debut feature from writer/director Rose Glass. Part-horror, part-psychological thriller, part-character drama, part-ecclesiastical treatise, _Saint Maud_ can be read in a variety of ways – an analysis of the interaction between faith and self; a threnody for the life of a young woman suffering a mental breakdown; a drama about loneliness; a study of the importance of friendship; a tale of possession; a tragedy about the frailty of the human body. Told mainly (although not entirely) from the perspective of a fanatical Christian, the story makes room for the possibility that, however unlikely, such fanaticism isn't mental illness at all and that God really is communicating with this person. And this magnificently handled ambiguity is the film's trump card. Disturbing, horrifying, challenging, unpredictable, emotional, and occasionally very funny, this is a film that forges a path entirely its own, and is as impressive and daring a directorial debut as you're ever likely to find.
The film takes place in a thoroughly depressing English seaside town (it was shot in Scarborough, but the town in the film is unnamed). There we're introduced to Maud (an incredibly physical performance from Morfydd Clark), a recent convert to Roman Catholicism. Exceptionally devout, Maud believes that all of mankind is amoral, lustful, and wicked, and that only by way of a true saviour can we be saved. Is she that saviour? It's possible, because God has explicitly told her that he has very special plans for her in the near future. Before being called upon to save humanity, however, Maud is working as a private palliative care nurse, explaining to God (we hear her prayers in voiceover) that she feels tending to a dying person and treating them with kindness and dignity in their last days is akin to saving their soul. The story begins as Maud arrives for her first day with Amanda K̦hl (the always brilliant Jennifer Ehle); a formerly world-famous American dancer and choreographer suffering from end-stage spinal lymphoma. Amanda has a reputation for being acerbic, but she and Maud get on well РMaud admires her strength of character and zest for life, whilst she wants to help Maud let her hair down a little. However, there are certain elements of Amanda's life of which Maud does not approve Рher smoking and drinking, for example, or the frequent visits from Carol (Lily Frazer), Amanda's much younger lover, and as time goes by, Maud starts to exert more and more control over Amanda's life. Meanwhile, although God continues to promise Maud that the time is coming when she will be called upon, she's started to get a little frustrated waiting. And so, facing the possibility that something hideous from her past could resurface, Maud decides to prove to Amanda, God, and everyone else just how far mankind has fallen and just how sanctified she really is.
Although Maud is a hard-line fundamentalist, Glass refuses to dismiss her as an irredeemable monster, arguing instead that such individuals genuinely believe they really are communicating with the Divine. It's the old thing about how a crazy person doesn't know they're crazy, but manifested in a more complex form – Maud may be mentally ill, but even if that is the case (and the film is in no rush to confirm that it is), then surely she deserves compassion and kindness, so completely has her mind bent reality to support her delusion. As will be discussed in a moment, Glass tells much of the story from Maud's subjective perspective, and in this sense, it's almost understandable when she sees signs of God's presence in everyday things (an inexplicable whirlpool in a glass of beer, for example) and when she's occasionally rendered almost catatonic as the Holy Spirit flows through her. As the subjective perspective communicates brilliantly, this may be delusion, but if it is, it's a total delusion that she is powerless against. In a very real sense, she cannot be held accountable for her actions.
Even irrespective of mental health issues, however, Maud is all-in on the whole Catholic thing. She tells God about how important her work is, as it allows her to "_save souls_", which is the greatest task she can imagine; she credits her recent conversion to Catholicism as reversing the downward spiral of her life, explaining that she always felt "_there was more than this_", but it was only when she became a Catholic that she was allowed to see what that "more" was. She's also a firm adherent of the Job school of faith-by-suffering, cheerfully telling a beggar, "_never waste your pain_" and later engaging in some truly gnarly DIY shoemaking.
Along the same lines, she tolerates Amanda's little digs about her life and how lonely she seems, but when Amanda turns her caustic wit to Catholicism, Maud is unable to let that stand without offering rebuke. Of course, her relationship with Amanda forms much of the film's narrative backbone, and is deeply nuanced and layered, with neither woman allowed to occupy the moral high-ground. Ehle plays Amanda as profoundly bored with her failing body, whose isolation and inability to leave the house mean she must find amusement where she can, and so she seizes on this strange, ultra-serious young woman who has come to look after her. Amanda is never portrayed as a villain, but she does regard Maud as something of a plaything and Maud's reverential and humourless attitude as something to be joked about, not with the intention of hurting Maud, but with the intention of amusing herself. Amanda, however, fails to understand that these are not mutually exclusive intentions.
As strong as _Saint Maud_ is thematically, however, where it really excels is in its aesthetic design. Glass directs the hell out of it and there's not a weak link amongst her crew – from Ben Fordesman's murky cinematography to Paulina Rzeszowska's detailed production design to Paul Davies's oppressive sound design to Adam Janota Bzowski's creepy score to Mark Towns's ambiguous editing (including a shocking slam cut right at the end that's as brilliantly jarring and thematically crucial as anything in the work of Nicolas Roeg).
Crucial to the overall aesthetic is how Glass handles perspective; most (although, crucially, not all) of the film is told from Maud's perspective, so we encounter her visions not as an objective third-party would, but as she herself does. So, for example, when she sees a small whirlpool spontaneously appear in a glass of beer, we see the same thing, and there's no cutaway to show us Maud staring at a normal glass, _sans_ whirlpool; when a towel placed near a crucifix falls to the ground for no obvious reason, we see it fall just as she does, and there's nothing to objectively suggest why it may have fallen; when God talks to her (in Welsh, no less), we hear His voice as she does, and there's no portion of the scene where we see Maud answering a voice we cannot hear.
Similarly, is it just a coincidence that so many shots of Maud are blocked with windows or lights in the background that create a halo effect, and is the shot of her walking on the beach, with a thin layer of water covering the sand, intentionally framed in such a way that it looks like she's walking on water? One particular scene near the end of the film, which I won't go into as it would be a spoiler, is especially important in the construction of a subjective point of view – what we're seeing couldn't possibly be anything other than psychosis, and yet the film has given us very little to confirm such a reading. Could it be that what Maud is experiencing is real? Is this scene confirmation that her mind has irreparably snapped, or is it confirmation that she was completely sane all along? Constructing a scene based on two literally inverse interpretations can't be easy, yet Glass does it so smoothly, you won't even realise the sharp dichotomy until it's all over. At the very least, even if we don't accept Maud's view of things, the film encourages us to sympathise with a woman undergoing a mental breakdown. There's no cynicism here – either Maud is truly in contact with God or she isn't, and if she isn't then her story is as much of a tragedy as Amanda's, and she deserves help, not condescension or ridicule.
Running only 84 minutes, it's extraordinary how much Glass squeezes into her debut feature; from the arresting performances by Clark and Ehle to the thematic complexity to the extraordinarily well-handled perspectival ambiguity to the haunting aesthetic design. Looking at issues such as trauma, faith, fundamentalism, sexuality, and human impermanence, the film has much more going on than the generic horror elements one might expect. Either a depiction of the mental collapse of a young woman or a study of the supernatural, the ambiguity might frustrate those who prefer their narratives with solid answers, but for the rest of us, there's much to embrace and celebrate here. One of the best directorial debuts I've seen in a long time, I was only half-way through the movie and I was already looking forward to whatever Glass might do next. _Saint Maud_ probably won't break any box-office records, but as a calling card, it's second-to-none, and we are going to be hearing a lot from Rose Glass in the future.
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136 Minutes | Drama, Thriller, Horror | 2018-09-23
📥 The Nightingale 2018
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Even with its flaws, this feminist Western is too violent, too dirty, too bloody, and too barbaric to be forgotten easily. When the lights in the cinema came on, the woman next to me was crying and, a few rows over, someone murmured that they had now had PTSD. 'The Nightingale’ is not an easy film to watch and certainly not one to expect to come out of laughing or feeling terrific. But it will make you will feel something, which is a rare thing for a film to be able to do today.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-the-nightingale-a-blunt-and-brutal-period-piece
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews.
**_A superb, albeit harrowing drama about colonial violence, misogyny, and racism_**
>_Whether the Blacks deserve any mercy at the hands of the pioneering squatters is an open question, but that they get none is certain. They are a doomed race, and before many years they will be completely wiped out of the land._
- Harold Finch-Hatton; _Advance Australia! An Account of Eight Year's Work, Wandering and Amusement in Queensland, New South Wales and Victoria_ (1885)
>_If Judas Chamberlain can find a black, or brown or yellow race in Asia or Africa, that has as high a standard of civilisat__ion and intelligence as the whites, that is as progressive as the whites, as brave, as sturdy, as good nation-making material, and that can intermarry with the whites without the mixed progeny showing signs of deterioration, that race is welcome in Australia regardless of colour._
- _The Bulletin_ (June 22, 1901)
>_The land is my mother. Like a human mother, the land gives us protection, enjoyment and provides our needs – economic, social and religious. We have a human relationship with the land: mother, daughter, son. When the land is taken from us or destroyed, we feel hurt because we belong to the land and we are part of it._
- Djiniyini Gondarra; Quoted in Ian R. Yule (ed.), _My Mother the Land_ (1980)
>_The attacks on the character and the efficiency of Van Diemonian smallholders bear striking similarities to those made on the Irish and Scottish at this time. In both cases unfavourable contrasts with both 'old English' (hierarchical ordered rural society) and 'new English' (improved and efficient agricultural productivity) were commonly made. In both cases the people were seen to be, if not quite 'savages', at least not fully 'civilised.' And in the penal colony, just as with the Celtic fringe, this judgement was to justify eviction and rigorous social control measures which would deliver exclusive 'ownership' and control of the most productive land to a powerful and privileged elite._
- James Boyce; "An environmental history of British settlement in Van Diemen's Land: The making of a distinct people, 1798- 1831" (2006)
Hollywood has always had a curious relationship with colonialism. Whilst the British colonisation of the Americas tends to be frowned upon, one of the most popular genres of all-time, the western, was, for many decades, an un-ironic celebration of the white mans' subjugation of the Native American populace. It was only with the revisionist westerns of directors such as John Ford, John Sturges, Sam Peckinpah, and Sergio Leone that the genre began to embrace introspection, deconstructing its own codes and rendering problematic its colonialist tropes. Written and directed by Jennifer Kent, _The Nightingale_ could certainly be categorised as a revisionist western, albeit set in Van Diemen's Land (modern-day Tasmania), an island about 150 miles off the southeast coast of Australia, but it's probably more accurate to class it as a colonial revenge. On the surface, it's very much a genre picture, a rape/revenge drama set in a western _milieu_. However, as it progresses, it gradually reveals itself as less concerned with hitting genre beats than engaging with issues such as racism, misogyny, innocence, the fine line between barbarism and civilisation, and the cathartic potential of violent revenge (or possible lack thereof). Much as Kent's debut, the exceptional _The Babadook_ (2014), was a horror in name only, its genre serving as a means to a thematic end, so too with _The Nightingale_. Brutally violent (but never gratuitously so), extremely unpleasant, and downright nihilistic at times, it's not going to pack them in at the multiplex, but for those who think of cinema as art first, entertainment second, this is an important, relevant, and mature study of mans' innate capacity for cruelty.
Van Diemen's Land, 1825. A British penal colony, the island is in the midst of the Black War, with the British army attempting to eradicate the indigenous Palawa population. In an isolated colony, Clare Carroll (a star-making turn from Aisling Franciosi) and her husband Aidan (Michael Sheasby) are Irish convicts with an infant daughter, indentured to garrison commander Lt. Hawkins (an odious Sam Claflin). Convicted of petty theft in Ireland over seven years prior, Clare has served her sentence and is waiting for Hawkins to sign her long overdue letter of recommendation, which would render her and Aidan free citizens. However, Hawkins, who calls her his Nightingale on account of her beautiful singing voice, responds by raping her, and not for the first time. Meanwhile, Cpt. Goodwin (Ewen Leslie) visits the colony to evaluate Hawkins for promotion and a more prestigious command. The night after the rape, Aidan drinks too much and gets into a brawl with Hawkins, the sadistic Sgt. Ruse (Damon Herriman), and the naïve Pvt. Jago (Harry Greenwood). Seeing the brawl, and already unimpressed with the conduct of Hawkins's men, Goodwin tells him he will not be recommending him for promotion. Infuriated, Hawkins orders Ruse and Jago to accompany him on foot through the treacherous bush to Launceston, where he intends to make an in-person appeal for promotion to army brass. However, before they leave, Hawkins and Ruse rape Clare and brutalise Aidan and their baby. And so, determined to exact revenge, she sets off in pursuit of the trio, hiring "Billy" Mangana (an exceptional debut from dancer Baykali Ganambarr), a Palawa tracker and one of the last of his people, who hates whites as much as Clare hates Hawkins.
Having spent over five years researching the frontier wars, Kent made _The Nightingale_ in collaboration with Palawa elders, with the story of Clare and Billy serving as Australia-specific synecdoche for the general oppression and violence of British colonialism. Both Clare and Billy have been deeply wronged by colonialists – her as a convict and woman, him as a Palawa. However, one of Kent's masterstrokes is to complicate their dynamic, whereby neither is capable of seeing their similarity to one another, with both convinced their racist point of view is legitimate. When Clare is first told she'll need a Palawa tracker, she responds, "_I'm not travelling with a black. I'll end up in someone's pot of dinner_". And in literally the next scene, when Clare tries to hire Billy, his response is, "_I'm not working for a bloody white woman._" It doesn't matter to him that Clare is in Van Diemen's Land against her will – she's part of the white race that has murdered his people and taken his land. At the same time, her view of him is based on the crudest of colonial stereotypes – that all Aborigines are cannibalistic savages. Indeed, for much of the first half of the film, she refers to him as "_boy_" rather than his actual name and exerts her authority over him in a not entirely dissimilar manner to how Hawkins exerts his authority over her.
However, it's not exactly a spoiler to say that much of the film concerns itself with the duo coming to understand the oppression experienced by the other, recognising their parallel experiences. Indeed, in one of the strongest scenes in the film, their first real connection comes as they sit at an open fire, each cursing their oppressors in their respective native tongue, linguistically rebelling by rejecting the colonial signifiers and codes. In the hands of a lesser director, their story arcs could easily devolve into the worst kind of facile and clichéd movie sentimentality. Kent, however, keeps everything so grounded in bleak reality, the character beats so organic, and the themes so understated (there are no "cry now" moments), that virtually every stage of the relationship rings true, with unnecessary, authorial imposed plot never overwhelming characterisation.
Hawkins, for his part, is a representative of the worst aspects of British colonialism, not just the kind of jingoistic and xenophobic thinking that made such colonialism possible, but so too the misogyny, racism, and savagery that underpinned the formation of the largest empire in human history (at its largest (around 1920), the British Empire included 23% of the world's population and covered 24% of the globe). Crucially, however, Hawkins is utterly banal; believing himself destined for greatness, he's incapable of accepting what is apparent to Goodwin and the audience – he's a poor officer, an amoral and mediocre man whose lofty ambitions infinitely outweigh his negligible potential. He's a symbol of the toxic masculinity that engendered colonialism, but so too is he a flesh-and-blood person with characteristics relatively unrelated to his savagery. This is important insofar as, yes, he's an irredeemable monster, but he's never a pantomime villain.
Although, on the surface, _The Nightingale_ is a rape/revenge genre piece, Kent argues that this is to miscategorise the film, telling _BUILD_,
>_it's being classed as a rape/revenge film because it's got rape in it and people who are feeling the need for vengeance, but it doesn't follow any of the tropes of that genre. In fact, if people who like those kinds of films come and see it, they're going to be infinitely disappointed, because it provides no catharsis. It actually kicks up the question of why are you wanting revenge in that way. Do you really believe it? It's a fantasy, this idea that revenge provides catharsis, it's largely a fantasy._
This is an important point, as one of the film's main themes is whether revenge can lead to peace of mind. Does revenge provide fleeting satisfaction, even though it's ultimately futile, or is it a necessary and important part of the healing process? Most troublingly of all, however, Kent asks, irrespective of one's awareness of the heavy psychological cost of violent revenge, are there acts which are so abhorrent, inhuman, and evil that revenge is the only possible response. And if so, how does one reconcile the futility of revenge with its necessity?
From an aesthetic point of view, as one would expect from the makers of _The Babadook_, _The Nightingale_ looks exceptional. Kent and cinematographer Radek Ladczuk shot the film in Academy ratio (1.37:1), with the claustrophobic nearly square frame trapping the characters within it, in direct opposition to the vast open plains in which they often find themselves. Especially important are the BCUs of faces, particularly the recurring motif of shooting from above characters as they lie on their back looking up into the sky, usually at night time. Faces in general, and Clare's in particular, are the film's roadmap insofar as the violence is never abstract; it happens to a person, not a depersonalised body, and it has real consequences – compare, for example, Clare's face prior to and after the second rape, with Franciosi's exceptionally modulated performance communicating more than language ever could. Indeed, the economy of Kent's visual language is evident from the opening scene, which sees Clare walking through the bush with her baby, as the camera shows us she's carrying a knife – establishing her independence and strength of character whilst also communicating how dangerous this place is, all without a word of dialogue.
Much has been made of the film's violence, particularly the scene where Hawkins and Ruse rape Clare. At both screenings at the Sydney Film Festival, multiple audience members walked out, and North American distributors IFC included a trigger warning independent of the MPAA rating details, stating, "The Nightingale _features potentially triggering acts of sexual violence towards women, violence towards children and violence motivated by racism._" Personally, although I found the rape scenes disturbing, I didn't think they were as bad as has been made out, and if you've survived films such as Wes Craven's _The Last House on the Left_ (1972), Lukas Moodysson's _Lilja-4-ever_ (2002), or Gaspar No̩'s _Irr̩versible_, you'll be fine with _The Nightingale_. In any case, the violence (whether sexual or otherwise) is never gratuitous, exploitative, or immature РKent is no Quentin Tarantino; violence in her work has stomach-churning consequences, and when she chooses to show such violence, there is always a point, whether it be thematic or character-driven, it's never arbitrary violence-for-violence's-sake, or worse, violence-for-titillation's-sake.
In terms of problems, as the Sydney screenings attest, the brutality on display will simply be too much for some Рthis most definitely is not a date movie, or a popcorn movie, or a popcorn date movie Рit's dark, brutal, and unrelenting and it asks a lot of the audience. I didn't see this as a problem myself, but certainly, some people believe cinema should entertain, and entertain only, and if you're of that mindset, you'll get nothing from _The Nightingale_. A more objective criticism is that at 136 minutes, it's a tad too long, and it does lapse into repetition from time to time Рif the middle act had been tightened up a bit, cutting maybe 10 or 15 minutes, it would have played better. The _d̩nouement_ is also somewhat rote, which is disappointing given the strength of the filmmaking leading us to that point. I wouldn't necessarily say it doesn't work, but it's the only part of the where it feels like a genre piece.
These issues aside, however, this is exceptionally strong filmmaking. With not a hint of sentimentality in its unflinching depiction of the horrors inherent in the subjugation of an entire people, _The Nightingale_ confirms Kent as a major _auteur_ with a distinctive voice and the courage to remain true to her subject-matter, however abhorrent such truth might be.
Jennifer Kent delivered one of the best horror movies of the decade, The Babadook. With The Nightingale, only her second feature film, she offers one of the most visually brutal, shocking, jaw-dropping, violent revenge stories ever. This movie is the definition of “not for everyone.”
Rating: A-
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109 Minutes | Horror, Drama, Thriller | 1960-06-22
📥 Psycho 1960
📥 DOWNLOAD HERE
Psycho 1960 IMDb ~ Directed by Alfred Hitchcock With Anthony Perkins Janet Leigh Vera Miles John Gavin A Phoenix secretary embezzles forty thousand dollars from her employers client goes on the run and checks into a remote motel run by a young man under the domination of his mother
Psycho Definition of Psycho by MerriamWebster ~ Psycho definition is a deranged or psychopathic person —not used technically How to use psycho in a sentence
Psycho Definition of Psycho at ~ Psycho definition a psychopathic or psychotic person See more
Psycho 1998 IMDb ~ Directed by Gus Van Sant With Vince Vaughn Anne Heche Julianne Moore Viggo Mortensen A young female embezzler arrives at the Bates Motel which has terrible secrets of its own
Psycho 1960 film Wikipedia ~ Psycho is a 1960 American psychological thriller film directed and produced by Alfred Hitchcock and written by Joseph stars Anthony Perkins Janet Leigh John Gavin Vera Miles and Martin Balsam and was based on the 1959 novel of the same name by Robert film centers on an encounter between a secretary Marion Crane Leigh who ends up at a secluded motel after stealing
Psycho 1960 Rotten Tomatoes ~ Alfred Hitchcock was a master at film and Psycho is evidence of the genius at work The film is unpredictable and showcases a wide range of challenges for the viewer
Psycho film by Hitchcock 1960 Britannica ~ Psycho American suspense film and psychological thriller released in 1960 that was directed by Alfred Hitchcock and is loosely based on the reallife killings of Wisconsin serial murderer Ed Gein After secretary Marion Crane played by Janet Leigh impulsively absconds from her job with
Post Malone Psycho ft Ty Dolla ign YouTube ~ Psycho ft Ty Dolla ign Official Video Song Available Now psychoYD Merch Available Here For More
Psycho 1998 film Wikipedia ~ Psycho is a 1998 American horror film produced and directed by Gus Van Sant for Universal Pictures and starring Vince Vaughn Julianne Moore Viggo Mortensen William H Macy and Anne Heche in leading and supporting roles It is a modern remake of the 1960 film of the same name directed by Alfred Hitchcock in which an embezzler arrives at an old motel run by an insane killer named Norman Bates
Ava Max Sweet but Psycho Lyrics YouTube ~ Ava Max Sweet but Psycho Lyrics SweetButPsychoID 🔔 Turn on notifications not to miss any uploads Ava Max
Required viewing.
_Final rating:★★★½ - I really liked it. Would strongly recommend you give it your time._
“We all go a little mad sometimes. Haven't you?”
A Phoenix secretary, Marion Crane (Janet Leigh), embezzles $40,000 and rashly flees town, ending up at a remote motel in Fairvale, California, where she encounters the eccentric Mama’s boy Norman Bates (Anthony Perkins). Mixed into this web is a private investigator (Martin Balsam), Marion’s sister (Vera Miles) and Marion’s secret beau (John Gavin).
Directed by Alfred Hitchcock based on Robert Bloch’s book, “Psycho” made a huge impact when it was released in 1960. It contains a plot development that was groundbreaking at the time shared by England’s “City of the Dead” (aka “Horror Hotel”), which went into production six weeks earlier than “Psycho” and was released in the UK at the same time, but not in America until 2 years later. While they’re both good, “Psycho” is way superior. It was followed by three sequels (1983, 1986 and 1990), the last being a semi-prequel, all starring Anthony Perkins as Norman with Vera Miles returning for the first one.
One thing I don’t like is that it was shot in B&W. Check out the sequels and the 1998 remake to observe the same settings in living color.
The film runs 1 hour, 49 minutes and was shot primarily at the backlot of Universal Studios, Universal City, California, with other parts in Los Angeles & Gorman, California, and Phoenix, Arizona.
GRADE: A
My most favourite film from the master of suspense.
This psychological horror is widely considered to be the first ever slasher film. Powered by great performances from Anthony Perkins & Janet Leigh, and the outstanding score by Bernard Herrmann which adds such great tension throughout the film, it is unarguably the greatest thriller ever made. Only Alfred Hitchcock could make a film so entertaining and so horrifying at the same time.
The climax continues to haunt me forever.
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| Horror, Thriller | 2020-10-15
📥 Candyman 2020
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| Horror, Thriller, Drama | 2021-04-23
📥 Last Night in Soho 2021
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98 Minutes | Action, Science Fiction, Horror, Adventure | 2020-08-26
📥 The New Mutants 2020
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91 Minutes | Horror, Thriller | 2019-11-11
📥 We Summon the Darkness 2019
📥 DOWNLOAD HERE
Full Review at **_Horror Focus_**
We Summon The Darkness has glimpses or originality and flare throughout, sprouting up through heaps of generic sequences that do more damage than good. Luck enough, these moments do add a little zest to the experience, and remind you that there is a healthy chunk of potential to be admired. Whether it's the charming cast or the plentiful gore, there seems to be something that will keep everyone pleased, even if not fully satisfied. The gore is delicious, the home-invasion game of cat and mouse is entertaining, if a little watered down, and the characters are ultimately the saving grace here, even down to the "coke booger' step-mum which add a tantalisingly fun element to the whole experience. Now, this won't be breaking new ground by any means, but it's still a passable way to kill 90 minutes.
Gory, entertaining and often funny at a flaw, boasted by charasmatic performances from Daddario and Hasson. Expect a plot with verve or ingenuity and you will come out of this with a whimper.
Good watch, could watch again and can recommend.
Alexandra Daddario ("Percy Jackson: The Lightning Thief") is expanding her range again here, I just wouldn't have thought to cast her in a villainous style role, but she rules the scenes she is in, showing her big personality.
Amy Forsyth actually shows some big acting strength, mostly by playing a meek character which isn't easy.
And I wouldn't have thought Johnny Knoxville (Jack Ass) would have the commanding presence for a preacher, but he fills the atmosphere with power.
The movie itself has every sign of being some horrible slasher movie with twists, but the biggest "twist" is that everything careeens out of control. The movie honestly reminded me of "Duplex" more than "Scream".
Honestly, without this cast working their butts off this would be a terrible movie, but the story it just interesting enough and the acting good enough to save it.
Worth the watch, but I would understand if you want to watch something else: there are a lot of choices.
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119 Minutes | Crime, Drama, Thriller, Horror | 1991-02-01
📥 The Silence of the Lambs 1991
📥 DOWNLOAD HERE
Unlike a lot of viewers, I first saw _The Silence of the Lambs_ at five years old. So, for me, _The Silence of the Lambs_ is a childhood favorite. Some would say I had an unusual childhood, in this age where some people actually **avoid** R-rated movies like the plague. The fact that I saw _Something Wild_, which Jonathan Demme directed five years before _The Silence of the Lambs_, as well as the original _Alien_ (alone at that), at the same age probably indicates that they were okay with me watching pretty much anything that wasn't rated X, though, honestly, I've **never** had any interest in that stuff. It was probably due to the fact that, like the movie's protagonist, I don't "spook easily," and many so-called "scary" movies, including this one, never scared me, but (many of them) definitely thrilled me. Granted, I'd seen _Saving Private Ryan_ a few months before, which probably gave me a strong stomach. Well, enough about my wild, albeit fun, childhood. How does _The Silence of the Lambs_ hold up all these years later? For me personally, _The Silence of the Lambs_ is every bit as good as it was the first time I saw it at five years old.
On the off chance you don't already know the plot by now, Jodie Foster stars as Clarice Starling, a rookie FBI agent with a degree in psychology who is called from training by her boss Jack Crawford (Scott Glenn) in the middle of a string of murders by a man nicknamed "Buffalo Bill" (Ted Levine) who skins his victims, all of whom happen to be women. Crawford tells her to interview the psychotic Dr. Hannibal "the Cannibal" Lecter (Anthony Hopkins) in prison, hoping he might have an answer of some kind. Lecter brushes her off. After Catherine Martin (Brooke Smith), the daughter of a senator is kidnapped, Lecter agrees to give Starling information about Buffalo Bill on the condition that she tell him personal information about herself.
If I had to pick the greatest Best Picture Oscar winner ever, it would most likely be _The Silence of the Lambs_. Well-acted, well-written, and well-directed, it's definitely my favorite.
Let's look at the acting to start. Jodie Foster, unsurprisingly, won a well-deserved Oscar for her performance as Starling. Foster plays Starling as a little scared yet strong at the same time, definitely not a coward as Julianne Moore later played the character in the movie _Hannibal_, and definitely not someone who would turn cannibal as Thomas Harris wrote the character as doing in the novel Hannibal. Movie or novel, in my honest opinion, the Clarice Starling depicted in _Hannibal_ is an insult to what this Clarice Starling stands for. As we find out about what's been nagging Starling since childhood, Foster plays it especially well where another actress may have overdone it.
Anthony Hopkins, like Foster, won an Oscar for his performance as Lecter, and I speak for a lot of people, if not everybody, when I say it was also well-deserved. Hopkins plays Lecter as brilliant yet insane, making him one of the more interesting villains in movie history.
Scott Glenn plays Crawford very well for the time he's onscreen.
Ted Levine plays "Buffalo Bill" as straight up crazy, and does a very good job of making us hate him.
Brooke Smith is only supposed to play Catherine Martin as scared and she does - with dead-on accuracy.
Ted Tally won a well-deserved Oscar for his screenplay, adapted from Thomas Harris' novel of the same name. Tally doesn't feel the need to focus on violence and gore, which is one of the movie's strengths. Instead he focuses on the characters, and I'd be lying if I said he didn't flesh them out very, very, very, well.
Jonathan Demme also won an Oscar for his directing and he does a very good job of it.
_The Silence of the Lambs_ is relentlessly thrilling and it holds me to my seat until the last frame every time I see it, all without relying on excessive gore.
I've already mentioned that _The Silence of the Lambs_ doesn't scare me, so it may - or may not - scare you, depending on what you're afraid of. Admittedly, there are a few creepy things displayed onscreen so I can see why it would scare some viewers.
Either way, I can't recommend _The Silence of the Lambs_ enough, and everybody should see it at least once.
_The Silence of the Lambs_ is a childhood favorite of mine, and it holds up very, very well almost 25 years after its release. It's relentlessly thrilling, flawlessly acted, flawlessly written, flawlessly directed, and one of the few movies that actually deserved all the Oscars it won.
This is one of a few movies I put off reviewing for years, because I honestly don't know what to say about a film this classic. So I'll be brief in my actual review, knowing that it comes from a place where I honestly believe that this is a movie that deserves its praise:
Even if the A-plot of the story wasn't one of the best crime thrillers put to screen, the Hannibal Lector moments alone would be enough to make _Silence of the Lambs_ a great movie, most especially his run in Memphis.
_Final rating:★★★★ - Very strong appeal. A personal favourite._
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| Horror, Action, Science Fiction, Thriller | 2021-07-09
📥 The Forever Purge 2021
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| Horror, Thriller | 2021-01-01
📥 Escape Room 2 2021
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| Horror, Thriller, Drama | 2021-04-23
📥 Last Night in Soho 2021
📥 DOWNLOAD HERE
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108 Minutes | Horror, Thriller | 2020-01-24
📥 The Night House 2020
📥 DOWNLOAD HERE
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89 Minutes | Horror, Drama | 2020-07-03
📥 Relic 2020
📥 DOWNLOAD HERE
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'Relic' isn't just an impressively eerie horror movie debut from first-time director Natalie Erika James, it's a test of devotion and love that lurks in the unforeseen distance for parents and their children.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-relic-the-curse-of-old-age
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114 Minutes | Action, Horror, Thriller | 2020-07-15
📥 Peninsula 2020
📥 DOWNLOAD HERE
Admittedly, Yeon Sang-ho's enthusiasm is infectious and, while 'Peninsula' is never as exciting as its source materials, it is kind of fun in an agreeably dumb, unpretentious way. But if Sang-ho wants people to keep stealing from him, he's going to have to stop stealing so blatantly from others.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-peninsula-an-action-packed-but-brainless-follow-up-to-a-horror-classic
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97 Minutes | Thriller, Science Fiction, Horror | 2019-09-07
📥 Vivarium 2019
📥 DOWNLOAD HERE
‘Vivavirum’ slots in neatly next to Jocelyn DeBoer and Dawn Luebbe’s ‘Greener Grass’ and Richard Stanley’s ‘Color Out of Space’ to form a loose trilogy of deeply surrealist releases in 2019 that skewer our perceptions of suburbia and the family unit. Director Lorcan Finnegan has brought to life a disturbing, thoughtful and bleakly funny mutant of a movie.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-vivarium-what-makes-a-house-a-horrific-home
Pretty pointless movie. Signed up to review because I couldn't believe the rating this received. Yes, you get a weird realtor and a creepy kid but other than that you just watch the couple basically repeat each day hating being stuck. You're not going to learn anything more about the weird freaks or why they're doing what they're doing and will end up feeling like you just wasted your time. Yeah, I get it's supposed to be satire but pass.
> **_Review on Horror Focus_**
This indie sci-fi thriller Vivarium from Irish filmmaker Lorcan Finnegan is many things, one definitely being quite the head-scratcher. Not because of it being an intellectually challenging story, or one that is laced with twists and turns to create an unpredictable viewing, but a film that delivers a narratives so peculiar that it is like something you've never seen before. Take this with a pinch of salt, as there's certainly aspects which don't make the landing of such an ambitious plot, but let it also be known that Vivarium contains some impressions visual and narrative storytelling, enough to forgive some of the mid-act waffle that cripples the films momentum.
Finnegan gets the ball rolling with power, keeping the story taught enough that we are thrown straight into the mystery early doors. This works extremely well as the tension begins to bubble within the first ten minute mark. The performances here from our main cast member already begin to show their brilliance, especially Jonathon Aris who sets a chilling foreshadowing tone with his appropriately eerie character Martin. The small (yet effective) amount of screen time we have with Martin is enough to set the tone, and we, like Tom and Gemma are forced to endure something that is so ominously intense that it leaves a lingering sense of dread.
Unfortunately, this soon begins to simmer once Finnegan establishes the plot in its whole, and realisation settles on the simple fact that, after the 30 minute mark, there really isn't much else for the story to go. Yes the labyrinth maze of suburbia is strangely terrifying, and the strenuous repetition is effective, but after 15 minutes of having the child introduced, Vivarium begins to fall flat, and grow increasingly more stale up until after the sixty minutes in. The fantastic Poots and Eisenberg, and the deadpan humour do prevent this film from becoming a little too one-note, but this doesn't exuse more than a few scenes that will be a task to sit through, even in these current homebound world we are living in.
There is a glimmer of brilliance in Finnegan's choice of release here, as what our main couple are enduring is poetically reflective of the life we are living in this mad pandemic virus. I found myself identifying with the irritated attitude our characters develop, and sympathised with them when their child (the boy) was well deserving of a slap. Vivarium is intelligently relative right now, and can definitely be perceived as as Finnegan holding a mirror up to the idealistic yet treacherous concept of what makes the perfect home, and the urge to be the perfect family.
In fact, there's so much underlying aspects of Vivarium that are so incredibly reflective of the inevitable repetition that comes once a spunky couple are weighed down by family life, securing their "ideal" home and tolerating each others impurities under the same roof constantly. Finnegan exposes the dangers of the nuclear family here, and forces us to endure it too, warts and all. We even get those little moments in which Tom consistently chips away, digging a whole, not to be talked to, helped or interrupted by Gemma, who becomes a slave to ensuring nothing but contentment for their boy. This moment is humourous with a dark sting, and will be reflective of reality to many, but to those inside Vivarium is nothing but a nightmarish loop.
This distorted utopia Finnegan creates is what's most effective, orchestrated by a Burton-esque palette that is as gorgeous as it is hauntingly off-kilter. The early 80's, Romero's Day of the
Dead-like synth is undeniably effective, and carries the tension through to the final act, which although doesn't hit a payoff point that excuses the slow middle act, does add to the bankers reality Finnegan has crafted, and highlights the eeriness established from the beginning. While Vivarium does lose a tone of momentum when it hits the mid-way point, by the time it reaches its end, I can't shake the distinct feeling of unease I had to endure for over eighty minutes, and I can't deny that a film like this was an experience I have quite been exposed to before. I have been feeling really under the weather these past few days, and let's just say this only made me feel worse. Great job, I guess?
VERDICT
Vivarium is a simplistically disturbing suburban nightmare with a captivating story and little room for growth. Enduring its drab middle act may prove tricky, but once Finnegan blows the dust of the eerie intensity established from the beginning, you'll find there is much to be desired with this unsettling little indie-sci-fi thriller.
Amazing watch, will watch again, and can recommend.
Imogen Poots and Jesse Eisenberg (both from "The Art of Self Defense") are amazing in their roles as an abducted couple force to raise a child.
This is an amazing premise (see "Solar Opposites" for something similar), and one that is extremely hard to discuss without spoilers. This is a wonderful mix of tropes. There is a prisoner / abductee trope, there is "adoption of a strange child" trope, there is a "troubled couple" trope, there is even a mystery trope.
I'm fully of the opinion that the right thing to do in any abduction situation is to not reward the criminals with what they want because there is no reason that while they have all the power that they're going to do anything to benefit the victims. We get see an exploration of what people do in a dire situation and given a task, similar to a couple different "Twilight Zone" episodes.
The production value is clearly here, and while they appear to have saved some money on limited locations, it clearly put to good use as the movie delves deeper into its story.
I can't recommend this enough, please give it a shot all the way through.
Sci-fi thriller, just not _"on the edge of sit"_ type. Lorcan Finnegan remakes his short film **Foxes** and adds a life message to it.
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121 Minutes | Drama, Horror, Thriller | 2020-03-19
📥 Pelican Blood 2020
📥 DOWNLOAD HERE
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114 Minutes | Action, Horror, Thriller | 2020-07-15
📥 Peninsula 2020
📥 DOWNLOAD HERE
Admittedly, Yeon Sang-ho's enthusiasm is infectious and, while 'Peninsula' is never as exciting as its source materials, it is kind of fun in an agreeably dumb, unpretentious way. But if Sang-ho wants people to keep stealing from him, he's going to have to stop stealing so blatantly from others.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-peninsula-an-action-packed-but-brainless-follow-up-to-a-horror-classic