Elisabeth Moss escapes her abusive guy and holes up with A Wrinkle in Time star Storm Reid and her cop dad (Aldis Hodge, the condemned in Clemency). The good news is the abusive guy is soon reported dead, but the bad news is he’s an “optics genius” and is actually just invisibly stalking her, after faking death with the help of his shitty brother. The first body appears at the 1hr 12min mark – that’s a minute longer than the entire original movie, in which the I.M. killed dozens. Eventually, I.M.2020 starts killing cops (and Moss’s sister), after working to discredit and destroy Moss – but not kill her, since she’s pregnant. She returns to their ultra-modern rich-tech-movie-guy house, finds that after the genius’s “death” someone covered all his equipment in giant plastic sheets but left their dog untended, grabs the backup suit and becomes The Invisible Woman. Skimming letterboxd reviews, it seems I wasn’t the only one reminded of Gone Girl (thinking of the Neil Patrick Harris scenes).

The Staggering Girl (2019, Luca Guadagnino)

Luca’s follow-up to Suspiria Remake is… a fashion ad, and from the writer of The Current War, weirdly. I’ve watched other attempts at taking the fashion money and making a short film. This one lacks the nudity of the Carax and the creepy coolness of the Martel, and is overall not very interesting – but at least in this one I really noticed the clothes, so it arguably does its job better than the others. The Tsangari museum ad still beats ’em all.

Anyway, I barely remember this, but took some notes at least:

Julianne comes home with flowers to an empty apt, talks with Kyle on phone

The woman in yellow disappears

Nice whispery horror soundtrack

I think Kyle is Julianne’s painter mom’s assistant.

Now the woman who disappears is in pink.

Mia Goth with whoever plays Young Julianne:

Proper Julianne:


Original Cast Album: Company (1970, DA Pennebaker)

We watched this doc on Criterion because it’s newly available after being hard to see for years, and it’s talked-about online… but mostly because I wanted to do my homework for the next season of Documentary Now! Stephen Sondheim wrote some overcomplicated songs, he and the recording engineers fret over the performances, especially Elaine Stritch, who is saved till late night, then convinced to come back the next day and re-record.

We also watched a couple of shorts on Criterion… I think Michigan Avenue, and a jazz short, possibly A Rhapsody in Black and Blue, but I’d better not count those, since I can’t even recall for sure which ones they were.


Hamilton (2020)

It would’ve been cool to see this live, but our $480 tickets to see the touring company from the Fox balcony were refunded, and instead we watched the original cast up close in HD for free, and I’m not complaining. After all the Clipping I’ve been listening to, I’d hoped Daveed Diggs would be cooler as Lafayette… but then in the second half he’s super cool as Jefferson.


Cowboy Bebop (1998)

Firefly ripped this off quite a bit, eh? When it originally aired I thought this show wasn’t for me… in my defense, that might’ve been a knee-jerk stance from being surrounded by anime kids in college. Pretty excellent, our two main dudes accumulating shipmates, each with their own skills, competing for bounties, then finally the gang breaks up.

I’ve gotta see Cowboy Bebop: The Movie, which I’m just now learning about. The same team worked on Macross Plus, Samurai Champloo, Wolf’s Rain, and Space Dandy.


Fleabag season 1 (2016)

Really good, short series, based on a stand-up show that I tried to watch afterwards but it’s the same stories told in the same way, so I bailed after a half hour. Phoebe Waller-Bridge runs the guinea pig-themed cafe she co-owned with her late friend Boo, steals from her stepmother Olivia Colman, and torments her dad (Bill Paterson, who I just saw in Colin Burstead) and sister (Sian Clifford).


Superjail! season 3 (2012)

Opens in Ultrajail with the Warden as inmate, so I thought this season might end up having some kind of stakes, but nope, that was a one-off, then we’re back to the usual ultraviolence. This show is a LOT – I can’t even look directly at the screen the whole time or else my brain and eyes get overloaded, but it’s a good thing to half-watch while reading the news.


Rick & Morty season 4 (2020)

401: Akira, fascism, holograms, crystals that show you how you’ll die
402: Rick defends his private toilet from intruders, Jerry develops matchmaking app with an alien
403: R&M visit a heist convention, put a crew together, and pit Heistotron vs. Randotron
404: R gets M a dragon, Jerry has a talking cat
405: Morty interrupts a society of racist snakes causing time-travel chaos, Jerry floats
406: Narrative train!
407: Alien facehugger mind control
408: Vat of acid, Morty gets ability to save his place, vat of acid
409: “I fucked a planet”
410: star wars episode with an unexpected Don’t Look Now reference

Bonus: Samurai & Shogun anime short mashing up R&M with Lone Wolf & Cub.


A Touch of Cloth (2012)

Looking for something lightweight to watch, I found this TV movie cowritten by Charlie Brooker, and it was just the trick. All visual puns and word games delivered straight-faced, a la Police Squad or Airplane. It’s a cop mystery, and I think their boss (guy from The Hour) ends up being the culprit. Director Jim O’Hanlon did the Romola Garai/Jonny Lee Miller Emma. A few weeks later I made it a half hour into the second of three Cloth movies, but pulled the plug, only writing “oh noooo it’s all the same jokes.”


Lodge 49 season 1 (2018)

Ex-pool-guy Dud (Wyatt Russell from the fear-VR Black Mirror) and restaurant worker Liz (Sonya Cassidy of a bunch of UK miniseries) are in the dumps after their deeply-in-debt father apparently killed himself, until Dud finds a new sense of purpose at the local (also doomed by debt) Lynx lodge. I picked up this show after reading Vikram in Vulture, and loved about every minute of it. Dud sees signs everywhere, thinks everything is fate, and it’s never clear whether he’s delusional or on to something big – shades of Inherent Vice and Under the Silver Lake.

Lynxes:
Sovereign Protector Larry: Kenneth Welsh, a boss in Survival of the Dead, Windom Earle in Twin Peaks
Future S.P. and Dud’s reluctant mentor Ernie: Brent Jennings (Moneyball, The Serpent and the Rainbow)
Ernie’s secret squeeze Connie: professional mom Linda Emond (Ryan Gosling’s mom in Song to Song, Evan Rachel Wood’s mom in Across the Universe, Logan Lerman’s mom in Indignation)
Connie’s husband Scott: Eric Kramer, Little John in the Mel Brooks Robin Hood
New Age Blaise: David Pasquesi, Veep’s ex-husband

Notable non-Lynxes: Pawnbroker Burt… Brian Doyle-Murray as Ernie’s Boss… Bruce Campbell as Captain… Ernie’s coworker Beautiful Jeff… Dud’s depressed temp boss Gloria… Hot Librarian Emily… Liz’s fling “Corporate”… Surfer Alice… Fake Lodge agent Avery (lead singer of All-American Rejects)… and Real Lodge agent Jocelyn.


Tim & Eric’s Bedtime Stories season 2 (2017)

Piano salesman Eric’s boss Tim is obsessed with baklava.

Scratchoff gambler/mesmer Ray Wise steals Jorge Garcia’s wife Rhea Pearlman

The return of angelboy Scotty, featuring Bubbles

Very bad air traffic controller Will Forte takes a break, feat. Veep’s daughter and aww, Fred Willard

Gross dude gets a free trial workout at an auto-gym.

And T&E play lesbians Belle & Bonnie, whose adopted son is sold to a rich guy.


Alan Partridge’s Scissored Isle (2016)

Alan goes to different parts of Britain to try to bring harmony to the people… something like that, anyway. I forget how he gets locked into a warehouse over a weekend, but I recall that the whole adventure was started after someone filmed him attempting an insult joke. “The footage went viral,” he tells us, while the screen says 150 views. This was after the great Partridge movie, between Mid Morning Matters and This Time.


Also watched an episode each of Sherman’s Showcase, Final Space,
Avenue 5, and The Last O.G., none of which seems essential.

We enjoyed the quarantine reunion special of Parks & Rec.

Katy and I checked out each other’s shows in which characters burst into song, but I didn’t love Zoey’s Extraordinary Playlist and she couldn’t stand Lipstick On Your Collar. We settled on Crazy Ex-Girlfriend, but now it’s been three months since episode one…

After reading reviews I decided to watch half of The Twilight Zone 2019 season 1. Nightmare at 30,000 Feet confirmed my worst fears: instead of a goblin on the flight, it’s a podcast. Fun to watch Adam Scott anyway, so I made it through, but then the next two episodes I tried opened with cops, and that’s not the kind of story I was looking for that particular week.

We held a miniature Jane Austen film festival at home the week all the movie theaters closed and first-release films started coming out to (expensively) stream… tried one of those, plus three standard-def classics.


Persuasion (1995, Roger Michell)

Better of the two Persuasions. Anne is an old maid (by classic brit-lit standards) who rarely smiles. When her dad and snob-ass sisters retreat to Bath, Anne encounters old flame Captain Wentworth, whom she turned down before he became rich and acclaimed. She follows like a mouse while he’s aggressively courted by a neighboring family with ridiculous daughters, then when a “rich” (not at all rich) cousin shows interest in Anne, Wentworth reveals that he still likes her, and all is settled nicely.

Amanda Root followed up with a Jane Eyre, Ciaran Hinds with Cold Lazarus. The fluffy-haired, not-rich-after-all cousin is Samuel West (Dr. Frankenstein in that jacked-up Van Helsing). Complainy sister Mary is Sophie Thompson of the Gwyneth Paltrow Emma. Susan Fleetwood, Anne’s substitute mom who wears great hats, died of cancer the year this came out.


Emma (2020, Autumn de Wilde)

Radiant looking movie, with high color and production design, and I do love Anya Taylor-Joy and Bill Nighy. Unfortunately the editing was all over the place. It turns out we watched the two Emmas in the wrong order – you’re supposed to watch the one that makes dramatic sense first, then the one that’s super stylized. Persuasion followed Anne, who was persuaded to reject her love, and now we follow Emma, who persuades her friend Mia Goth (of Suspiria Remake) to reject her farmer suitor. Both girls end up with their rightful guys in the end.


Persuasion (2007, Adrian Shergold)

Oh wow, somebody got a digital HD camera and is very excited about it. Sally Hawkins is a more naturally emotive Anne, at least, and we enjoyed that Giles plays her dad. Shergold had previously filmed Dennis Potter’s Christabel and a Timothy Spall hangman movie.


Emma (1996, Douglas McGrath)

A proper version of the story, and highly enjoyable, with the title character as played by Gwyneth Paltrow seeming more foolish and less cruel. Toni Collette played the Mia Goth role, Alan Cumming as the minister who Emma tries to hook up with Toni, and Jeremy Northam as the man both Harriet and Emma fall for, before Harriet goes back to her farmer. Ewan McGregor is briefly a love interest before it’s revealed that he’s secretly marrying Emma’s rival. The music beat Randy Newman and Hans Zimmer at the oscars, and The English Patient beat this for costumes. Confusingly, between the two versions of Persuasion, Paltrow and Northam and Jennifer Ehle starred in a non-Austen movie called Possession.

I blocked off late January for Rotterdance, and premiere screening Asako was fantastic, then Belmonte and Rojo were pretty whatever… so I’m looking at the remaining options for the following week… Monos, Happy as Lazzaro… movies I keep hearing are great but don’t look attractive like Private Life and The Souvenir… mass-murder fashion-thing Vox Lux… serious stuff by Loznitsa and Petra Costa… and La Flor is there on the list, the ridiculous outlier which obviously I’m not gonna watch because there isn’t time. So that’s what I watched.

Movie from Argentina, in multiple episodes, with multiple chapters, the whole thing cut into multiple parts which don’t align with the episodes (but do align with the chapters) – it’s complicated. The director helps lighten things up by introducing the project in a prologue, looking into camera without moving his mouth, narrating in voiceover, and drawing his diagram of the film’s structure which landed on the cover of Cinema Scope.


Episode 1

Proper b-movie length at 80 minutes, and shot on low-grade video. The audio sounds dry and dubbed, but looks to be in sync. Scientists receive shipment of an ancient mummy, have to babysit it after hours, but one girl (and a black cat) get mummy-cursed, so a psycho-transference specialist comes to help. “I’ll tell you more about it,” she says, as the movie suddenly cuts to episode 2. A Mac OS 9 skype window proves this movie has been in the works for a long time.

Elisa Carricajo = Marcela, lead scientist who is introduced on an awkward date before hectic work day
Laura Paredes = cool, efficient doctor Lucia
Valeria Correa = dazed, cursed, water-guzzling Yani
Pilar Gamboa = mummy-curse specialist Daniela

Dr. Elisa, Dr. Laura:

Mummy-whisperer Pilar:


Episode 2

Famous singer Victoria reminisces to her hair-streaked assistant Flavia about Vic’s rocky/successful recording career and personal life with lousy singer Ricky. Out of the blue, Flavia is in a scorpion cult with the secret of eternal youth, but cult leader Elisa Carricajo doesn’t seem to trust her. Andrea “Superbangs” Nigro, a rival singer, has a whole speech about storytelling and protagonists (it’s a monologue-heavy episode) and is present in the recording booth during the very good climactic Victoria song (but why? I spaced out for a while).

Singer Victoria = Pilar = mummy-curse specialist Daniela
Assistant/Confidante/Cultist Flavia = Laura = cool doctor Lucia
Superbangs singer Andrea Nigro = Valeria = cursed Yani
Scorpion cult leader = Elisa = lead scientist Marcela

Nigro:


Episode 3

Epic spy drama that starts out fun, tries to pivot to being mournful as everyone appears to be doomed, and takes long sidetracks into backstory. The four lead women are teammates in this one – briefly they were five, until their leader Agent 50 takes out the mole sent by a rival assassin collective led by “Mother.” Both team leaders report to Casterman, a spymaster ordered to kill off his own people. It’s like pulp Oliveira at times – it’s never comedy, but has a delightful heightened quality to it. Multiple narrators of different sexes with different viewpoints, and at one point (not even at an intermission), Llinás stops the episode to show off his storyboards.

Casterman:

Commie-trained mute spy Theresa = Pilar
La Niña, daughter of a legendary soldier = Valeria
La 301, globetrotting assassin = Laura
Agent 50, Ukranian super-spy = Elisa

The promo shot… from L-R: 50, 301, Niña, Dreyfuss, Theresa:

My favorite scene, kidnapped Dreyfuss in the cosmos:


Episode 4

After all that narrative drama, this episode is aggressively messing with us. The actresses play “the actresses,” undistinguished and ignored. Llinás introduces them to new producer Violeta in a studio scene of choreographed arguments, then he ditches his production, taking a mobile crew to film trees in bloom with relaxing string music, stopping frequently to write in his notebook. I think it’s a parody of the pretentious filmmaker who has lost his focus/inspiration.

Halfway through, the focus changes, as paranormal investigator Gatto arrives at the site of a mysterious incident, finding the filmmakers’ car high in a tree, the camera and sound crew raving mad, and Llinás missing, having left behind his journals. Gatto calls the La Flor script notes “a load of crap,” gets mixed up with some residents of a psychiatric colony, and follows the director’s tracks through a series of used book stores, as Llinás searches for an old copy of Casanova with a deleted chapter. This all sounds like nonsense, but it comes together beautifully by the end, after seeming like a waste of time for a good while.

“He never refers to any of them in particular, as if the four were a single thing:”


Episode 5

“In episode five, the girls don’t appear… at the time we thought it was interesting.” I think it’s the same Guy de Maupassant story that Jean Renoir filmed in the 1930’s. A couple of cool dudes with fake mustaches give horse rides to a whitesuit man and his son, when they’re derailed by a couple of picnicking women, who pair off with the mustache men after whitesuit rides away. This is all capped with an air show, and is a lovely diversion after the long previous section.


Episode 6

Heavy organ music and intertitles – the four stars are reunited, but blurred as if shot from behind a dirty screen. Aha, it’s filmed using a camera obscura, a pre-camera device which throws a reverse image through a pinhole. Supposedly the women have escaped from unseen savages and are dodging a giant steampunk insect before returning to their homes. Partially nude and without closeups, they’re finally indistinguishable.

Essential reading: Nick Pinkerton for Reverse Shot and Jordan Cronk’s Cinema Scope feature.

This remake of Howard Hawks’s Ball of Fire is very scripty – so much screenwriting that there’s no room for anything else. Maybe a powerful performance could break through the scriptiness, but Virginia Mayo (ah, who?) is no Stanwyck, and Danny Kaye (I can never remember who he is exactly, and think of him as “Fake Donald O’Connor”) is no Gary Cooper (and I don’t even like Gary Cooper), so we’re boned. Mayo and her gangster boyfriend “Tony Crow” get in some real good slang, at least, while Kaye avoids Mayo because of her distracting body and the demoralizing effect of her presence, and hides out with his music scholar buddies, none of whom are Cuddles Sakall (but one of whom is Benny Goodman). Popular musicians Tommy Dorsey and Louis Armstrong look on as Kaye finally gets the girl, and picking up the second half of this movie a day later, we forgot why we’d ever started it, until we saw the Hawks name again – he remade his own pretty-good movie as a pretty-bad movie in the same decade.

For a two-hour movie it sure starts fast – there’s a “sea eruption” as the coast guard examines an abandoned craft, and a gushing leak in an undersea traffic tunnel, then a flurry of government workers reacting to the news, each worker rapidly introduced via subtitle, and this is all in the first two minutes. Little did I realize we’d mostly stick with these government workers for the next 118 minutes – this is a Godzilla movie told from the POV of the bureaucrats trying to devise a solution to the kaiju problem. I meant to watch this two years ago as part of a double-feature, but was so disappointed by the American remake, I cancelled. Should have carried on with the plan – despite its insistent focus on meetings, this is unique and excellent.

While the government works on their undersea-volcano theory, Godzilla’s tail shows up on the TV news, then as the PM is assuring the public there’s no danger of it coming onshore, it comes onshore. The fate of humanity may depend on the government’s response, but the higher-ups only listen to high-ranking officials, not anyone with actual knowledge or ideas. A scrappy young voice-of-reason deputy cabinet secretary named Rando (Hiroki Hasegawa, lead Fuck Bomber of Why Don’t You Play In Hell?, also in Before We Vanish) forms an impromptu committee of underrated functionaries to brainstorm solutions the old-guard leadership isn’t coming up with, making this the most Colonel Blimp-like of Godzilla movies.

Back to the giant monster movie at hand, the thing that comes onshore is… not Godzilla? I thought it might be a monster that G ends up fighting, but after struggling through the city and splashing blood everywhere, it collapses then suddenly evolves into the G we all know. Every time it stops and then rises again, it’s more powerful with new abilities – the fin-glowing, fire-breathing, purple-energy-releasing sequence is especially impressive.

When purple energy beams destroy the prime minister’s chopper, a know-nothing with seniority is made PM, and pretty easily convinced by the U.S. to let them nuke Tokyo. Sure he feels awful, but he has no ideas or power of his own, so it’s up to Rando, his team and his negotiations with the talented half-Japanese daughter of a U.S. senator. The movie is obvious about its politics and complaints – and again, it’s mostly meetings – but it’s also excellently paced and has outstanding monster-devastation scenes.

There are a million actors in this, each introduced with onscreen name and title, and I only kept track of a few. The PM is Ren Osugi, who shows up in every other Japanese movie I watch, and died last year. Kayoko is Satomi Ishihara of the Ring sequel Sadako 3D. Rando’s team includes Mikako Ichikawa of Anno’s live-action cartoon Cutie Honey, and Shinya Freakin’ Tsukamoto.

Not really horror, a disaster movie – made in response to the American version, which wasn’t good at all. This got a limited release in the US, where it mostly appealed to nerds on fansites, while in Japan it won best film and best director and was only outsold by Your Name. Hideaki Anno made this as a mental break between Evangelion films, the fourth of which is now five years delayed. Codirector Shinji Higuchi made Attack on Titan with some of the same cast, and directed sfx for the 1990’s Gamera movies. Anno might be following up with an Ultraman movie, and if he never finishes making the theatrical Evangelion series, I’m never gonna start watching it.

It has been over a year since I’ve watched the last ten minutes of a bunch of mediocre horror movies on streaming sites, and the temptation to properly watch some of these has been building, so it’s time to knock out a bunch and save myself some time.


Bird Box (2018, Susanne Bier)

Sandra Bullock regains consciousness and calls out “boy! girl!” when searching for the boy and girl, while phantoms are trying to trick the kids into removing their blindfolds. Is avoiding names a Pontypool sorta thing? “I have so much I want you to see” sounds like a sideways Hellraiser reference? The oppressive sound design is meant to distract the characters from locating the birds they seek. Once they get indoors, where the monsters cannot reach, there are no birds, annoyingly, it’s just a school for the blind – the last survivors of the suicide-sight monster-pocalypse. Blinds are like normals, now. She DOES have a box full of birds, pretty blue-green guys, then she names her “son” after the guy from Moonlight, presumably deceased. This was part of that wave of netflix movies that everyone thought they had to watch just because they had netflix, so I’m probably the last person in the world who hasn’t seen it. Bier made After The Wedding, which I saw a very long time ago, Bullock hasn’t been prolific since Gravity.


The Silence (2019, John Leonetti)

Netflix knows you want to watch this after Bird Box. This is obviously where Bird Box and A Quiet Place meet. From the fast-forward it looks Tucci-centric and monotonously beige. Stanley Tucci’s family encounters a traumatized lost girl who was sent with a noisemaker-rigged suicide vest to attract the murder-bats that killed the world, while masked dudes kidnap family members in slow-mo, and mom does that Quiet Place thing where she suicide-screams so the kids can escape. Tucci-gang and kidnap-gang brawl under a swarm of murder-bats, then an unwelcome voiceover catches us up. The director made Mortal Kombat 2, the writers worked on Transmorphers and a C. Thomas Howell movie,


Velvet Buzzsaw (2019, Dan Gilroy)

Zawe Ashton wanders into a haunted art gallery alone at night, the artworks all streaming paint onto the floor and into her body, while in a storage facility, Jake Gyllenhaal encounters a killer android on crutches, and at home Rene Russo gets assaulted by sculptures. Russo survives the night and tries to stay safe by divesting herself of all paintings and sculptures, but her tattoo counts as art, and kills her via shady CG. As in Bird Box, Malkovich had been killed off in the previous 90 minutes, damn it. Gilroy made Nightcrawler, but more importantly, he cowrote Freejack.


Apostle (2018, Gareth Evans)

Since we’ve watched the Downton Abbey movie, let’s see what old too-good-for-TV Dan Stevens is up to… ah, burning swamp witches in direct-to-video films. Dan rescues two women from a sexist cultist, whom they strenuously murder, while the cult compound burns, the camera bouncing here and there, recalling Evans’s V/H/S/2 segment. A mountainside explodes in fire and blood, the women escape, and the cult beardo watches a dying Dan embrace the grasses and become the new swamp-witch. Evans made The Raid movies… oh jeez, I watched one of those just three years ago and have forgotten all about it.


The Hole in the Ground (2019, Lee Cronin)

Seána Kerslake is in a hole in the ground. I hoped from the description that this would be a modern The Gate, but it looks like another The Descent. After an eternity of crawling, she rescues her unconscious son but awakens the blind beasties who can transform into people who probably died earlier in the movie. Back home, how can she know who’s real and who’s a beastie? Movie characters do not care about what is knowable, so she burns down her house with one son inside, and drives off with her “real” son, then we wait for the inevitable reveal that she got it wrong – there it is! Lee is presumably Mikal Cronin’s brother, his cowriter did a series called Zombie Bashers.


Cabin Fever Remake (2016, Travis Z)

Oh no, sad Matt (Daddario, of the Buffy-looking series Shadowhunters) is burning down the cabin with his feverish girlfriend inside, then his feverish buddy gets shot by rednecks and Gage blows them away. I see this is going the horror-comedy route, with the ever-popular overbearing sound design. He comes across Louise Linton of The Midnight Man, calls her a bitch, then I guess he walks into the woods and is killed by the editing and the too-loud music. Our director Mr. Z worked on Hatchet III and Behind the Mask, and screenwriter Randy cowrote the original with Eli Roth, who made not one but two poorly-reviewed films last year, plus a History of Horror doc series.


Day of the Dead: Bloodline (2018, Hèctor Hernández Vicens)

Ooh the zombie can talk and kidnap children in this second remake of the Romero sequel. Some bellowing army dudes are extremely good shots with their pistols as a horde approaches, but they all suffer the fate that army dudes in zombie movies must, while Sophie Skelton (Outlander) runs right past the horde to rescue her kid, beheads the talking zombie (Johnathon Schaech of The Scare Hole) with typical action-movie kissoff dialogue, then reads some science narration in as bored a voice as possible. The director’s follow-up to The Corpse of Anna Fritz, which itself got a remake, perpetuating some sorta horror sequel-remake super-cycle.


Await Further Instructions (2018, Johnny Kevorkian)

I skipped back an extra couple minutes because I noticed the movie’s blue-gray palette suddenly bloom into full color. It’s nothing though, and back in the blue-gray house the TV is telling the family members to kill each other, and dad complies with a hatchet before he’s taken down. I hope this all turns out to be a gag by the neighbor kids at the end. Nope, when smashed, the TV comes to Cronenbergian life and Tetsuos the dead dad. Sam Gittins (this year’s Ray & Liz) appears to win, then the whole family is murdered by cables except the newborn who I guess grows up with cables as parents. The director made family thriller The Disappeared a decade ago, the writer has a short about deadly colors called Chromophobia.


Cargo (2017, Ben Howling & Yolanda Ramke)

Oh, Martin Freeman is not gonna survive this pandemic apocalypse. After he goes blind and hungry, a kid takes his baby and rides undead-Martin to the zombie-hunter tribal lands in painful, wordless slow-motion. A remake of their 2013 short, but 98 minutes longer.


Veronica (2017, Paco Plaza)

The Spanish Ouija horror – kids are fleeing a demon-infested apartment building, Vero goes back for the youngest, then realizes the demon was inside her all along and tries to stop herself. Inventive effects, a cool look, and kickass post-punk song over the credits – one of the rare Last Ten Minutes entries that seems like a good movie. From the director of the original [Rec] plus two of its sequels.


Life After Beth (2014, Jeff Baena)

It’s killing me that the Zombie Aubrey movie was deemed not good enough to watch, but hey, my time is valuable. Dane DeHaan (Valerian himself) has strapped a fullsize oven to Aubrey’s back to slow her down, and they go for a romantic canyon hike before he shoots her. “I am sorry the whole world went to shit, but it was totally worth it.” John C. Reilly and Molly Shannon must be dead, but Anna Kendrick is here. The movie’s best original detail is that zombie gravestones have two death dates. Our writer/director specializes in little-loved Aubrey Plaza movies, also made The Little Hours.

The second half reveals that Bradley Cooper’s washed-up drunk suicidal 1970’s jam-dude was the lead character all along, bumming out a movie that we thought would be more about the giddy excitement of Lady Gaga’s rise to stardom. She’s an amateur from nowhere with a golden voice, but being a pop singer in 2018 requires choreography and shitty beats, so Cooper loves and marries her but still gets to be the guy who keeps it real, commenting on her false costumes and dance moves, then goes back to barking indecipherable lyrics over Neilyoungian jams (backed by Neil’s band Promise of the Real).

Despite the Cooper obsession, it’s a well-paced beauty of a movie that seems to exist for that one song/scene, Gaga revealed to be far more talented than her work in Machete Kills hinted at. The camera dives and swoops through the rock concert scenes, Sam Elliott is cool as ever, and it’s not until the closing credits that we stop to wonder what Andrew Dice Clay and Dave Chappelle were doing in a movie together.

Only a couple minutes after Buster Scruggs ended, the opening titles of this movie announced that it’s a story told in six chapters – what are the odds? Unexpected suicides in both movies too. It’s not that I wanted a faithful remake, since the plot is the weakest thing about Argento’s Suspiria, but what made them turn a bonkers Italian horror about witches in a dance studio into a 2.5-hour movie set in Berlin during the Baader-Meinhof hijacking, with long sections about a psychiatrist who lost his wife in the Holocaust? What’s the meaning of Tilda Swinton playing both Evil Mothers in charge of the studio and also the psychiatrist? Nice plot twist with Dakota Johnson (the older sister in Bad Times at the El Royale) appearing to be the fresh-meat new girl with especially good dance-murder skills, later revealed to be the reborn Mother Suspiriorum come to cleanse the school by killing one or both Tildas. I mean, this was a lot of movie for a single weeknight, so I think that’s what happened. I have mixed feelings, but pretty sure I need to keep watching all of Luca’s movies (this is my second of the year).

Chloe Grace is a paranoid escaped dancer in the opening scenes, then disappears forever, followed shortly by suspicious Olga, who gets gnarled up in the practice room. Mia Goth (A Cure for Wellness) is the dancer who shows Dakota around, and Jessica Harper cameos as the psychiatrist’s dead wife. Most unexpected name in the credits: The Turin Horse cinematographer Fred Kelemen as one of the cops who Psych Tilda asks for help. Writer David Kajganich has also done a Body Snatchers remake and a Pet Sematary remake.

Ignatiy Vishnevetsky compares it to “the movies Nicolas Roeg was making around the same time, confounding mosaics of predestination and psychoanalysis … It’s a movie where most of the characters are liminal figures, mid-phase between identities. It is packed with doors, mirrors, ceremonies, rehearsals, shared secrets, and make-up, suggesting commonalities between the backstage world and the supernatural through collage.”