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When Edna—the elderly and widowed matriarch of the family—goes missing, her daughter and granddaughter travel to their remote family home to find her. Soon after her return, they start to discover a sinister presence haunting the house and taking control of Edna. Relic 2020 review : '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 If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com
COVID-19 impacted the number of movies released in 2020, but the horror genre didn't seem to really suffer from it. Quality will always be subjective, but in my opinion, this year has examples at every point of the spectrum. I've witnessed some shockingly awful horror flicks (Fantasy Island, The Grudge, The Turning, You Should Have Left), a few "wasted potential" examples (Gretel & Hansel, The Rental, The New Mutants), some pretty decent ones (Underwater, Antebellum, Come Play), and more than just a couple of incredible films, some might even end up in my Top10 of the year (The Invisible Man, The Lodge). I didn't know much about Relic, but its premise got me interested.
This is Natalie Erika James' directorial debut, as well as her first feature-length screenplay, co-written with the also first-timer Christian White. Boasting a relatively unknown cast (to me, at least), I can't hide my surprise regarding how much I enjoy this film. Ambiguous horror movies with underlying themes are far from being an audience-favorite subgenre, much on the contrary. Usually, this type of film possesses traits that a regular moviegoer doesn't really look forward to: a slow pace, a series of suspenseful sequences that don't lead to the generic jumpscare, and finally, an ending that apparently might miss some sort of explanation, leaving the audience feeling underwhelmed.
Well, guess what? I love this subgenre, especially when it really hits me in the heart. It has all the ingredients above that I know will make most people think "this didn't make any sense, it's so boring". Many viewers will expect just another spooky, supernatural, psychological horror flick, and disappointment will meet them at the end. However, its narrative carries so much more than what's on the surface, and honestly, this is made clear pretty early in the movie. At its core, Relic is quite a realistic depiction of what happens to the older members of some families (unfortunately, more than what it should be), and it approaches extremely sensitive themes such as dementia and the abandonment of old people in nursing homes.
Natalie and Christian's screenplay doesn't hide from delivering a few messages concerning these two topics. Dementia is a terrible disease that, amongst other things, makes people lose what makes them unique, what makes them human, and forget who they truly are. If our parents take care of us throughout our young life, it's only fitting that we take care of them when/if they begin to fail to do so themselves. Not only should we do this because they already did the same for us when we were young, but also due to the possibility that our descendants might have to do the same when we grow old. It's a variation of the known circle of life.
Love should always be present, no matter the circumstances. A little piece of my personal life: my grandfather wasn't quite there at the end. He gradually became unable to drive, walk, and eventually speak. I chose to not see him as much as I did in his last few weeks, simply because I didn't want to remember him as someone he wasn't. My memory of him is intact with the best moments I've spent with him, and not that depressing phase at a nursing home, just laying in bed, waiting for his time to leave our world... It's a small portion of my life that I share with you, so you understand how Relic can impact so many viewers if people give it a legitimate chance with adequate expectations.
The acting is phenomenal across the board. Robyn Nevin can be scary as the grandmother Edna, but in the end, she's the emotional trigger that made me tear up. There are little nuances in her expressions that elevate her overall performance. Emily Mortimer is also outstanding as the mom, Kay, who has to go through all stages in dealing with a parent with dementia. From rejection and separation to acceptance and unconditional love, Kay is the character that gets a more significant focus. Bella Heathcote might have less screentime than the other two, but she's also fantastic as Sam, particularly in the horror sequences. Nevertheless, it's precisely this last point that hurts the film.
The house's atmosphere is incredibly suspenseful, but the third act brings out an unexpected level of horror, which I believe to be exaggerated. The balance between horror and family drama was excellent throughout the first two acts, except for short periods here and there, but the last twenty minutes go through such an over-the-top, eerie, extremely fictional path that ultimately ruins that near-perfect balance. It's almost like the producers came in and said "we need more horror", so they filmed a bunch of crazy, mind-bending, physics-defying scenes. This movie didn't need any of that, and it should have stuck with the intriguing drama instead of forcing the disturbing horror.
Technically, Charlie Sarroff's camera work is impeccable. With the help of Denise Haratzi and Sean Lahiff's editing, long takes strongly improve the build-up to the scary sequences, generating exceptional levels of tension and suspense. Brian Reitzell's score is interesting, but there's a point in the film where it gets a bit awkward, having in mind the scene taking place, but it doesn't hurt his overall work. Great pacing control, adequate runtime, and a beautiful, heartfelt, relevant ending that, unfortunately, some viewers won't be able to see past its apparently underwhelming climax.
All in all, Relic is one of those typical horror movies that will divide critics and audiences all around the world. This time, only false expectations can lead to disappointment. Natalie Erika James' directorial debut is far from being a generic horror flick, but a family drama with a very sensitive matter at its core. With the help of the also debutant Christian White, both deliver an exceptionally well-written, genuinely sad yet realistic story about dementia and how old people are treated once they can't live by themselves anymore. A remarkably ambiguous narrative filled with underlying themes leads to an emotionally powerful ending if the viewer is able to understand the implicit messages spread across the runtime. Emily Mortimer, Robyn Nevin, and Bella Heathcote all deliver exceptional performances. Technically, the lingering cinematography plus seamless editing create an extraordinarily suspenseful environment. However, the third act dives into horror way too much, holding unnecessary sequences that only ruin the film's tone, raising questions that don't belong in the movie. Still, I sincerely recommend it to anyone who enjoys this type of film, but please manage your expectations as fair as possible.
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A haunting ghost story set against the backdrop of a busy winter sales period in a department store, following the life of a cursed dress as it passes from person to person, with devastating consequences. In Fabric 2018 review : I’m going to give this film half a star because I hated it that much, but here’s the thing: isn’t such a reaction worth five stars? To simply dislike a film, move on and never give it a second thought is more of an insult than a half star rating. My full-bodied hatred of ‘In Fabric’ means that a gamut of emotions was run throughout the course of viewing, and that’s all a filmmaker is really trying to do, right? Invocation, no matter the result? And for that, ‘In Fabric’ is a raging success. Five stars! - Jess Fenton
Read Jess' full article... https://www.maketheswitch.com.au/article/review-in-fabric-the-best-worst-film-ever
Head to https://www.maketheswitch.com.au/sff for more Sydney Film Festival reviews. **_Very strange, very stylish, very funny, but not for everyone_**
> _Modern man is drinking and drugging himself out of awareness, or he spends his time shopping, which is the same thing._
- Ernest Becker; _The Denial of Death_ (1973)
> _In those days a decree went out from Emperor Augustus that all the world should enjoy unprecedented savings on all their favourite brands. This was the first Black Friday and took place while Quirinius was governor of Syria. All went to their own towns to find their discounts. Joseph also went from the town of Nazareth in Galilee to Judea, to the cit__y of David called Bethlehem, because he had his eye on a new laptop. He went to be registered at Target with Mary, to whom he was engaged and who was expecting a child. While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in the latest styles from Old Navy, and laid him in a shopping cart, because they were waiting in line to get into Walmart._
- Adam Kotsko; "The story of the first Black Friday" (2014)
One of the most visually and aurally accomplished filmmakers currently working, writer/director Peter Strickland has thus far enjoyed considerable critical acclaim and some limited arthouse and festival success, but has been unable to make much of a mainstream impact. Not that he seems remotely bothered by this, as his latest, _In Fabric_, is easily the most impenetrable and singular work in his increasingly impressive _oeuvre_. On paper, it's all very straightforward – an unsuspecting customer buys a dress that seems to be haunted (or may actually be inherently evil), and it unleashes chaos in her life. But as anyone who has seen any of Strickland's previous films knows, bare plot outlines do little to convey the riches therein – sure, _Katalin Varga_ (2009) is a rape/revenge thriller, _Berberian Sound Studio_ (2012) is a giallo love-letter, and _The Duke of Burgundy_ (2014) is an S&M-themed lesbian romance, but each one goes to some truly unexpected places not in any way suggested by their ostensible subject matter. With _In Fabric_, although it definitely flirts with embracing the transformative power of fine clothing and the positive psychological effects one can experience by wearing something one believes to look fantastic, Strickland is far more interested in roundly mocking some of the more crass elements of consumerism, particularly the pernicious and seemingly irresistible lure of "the bargain", and the herd mentality manufactured, maintained, and exploited by retail corporations during Black Friday (an event that if witnessed by aliens would surely lead to them judging us too intellectually rudimentary to bother conquering). _In Fabric_'s biggest single problem is that it's actually made up of two loosely-connected storylines, but because the first one is so much more interesting, it leads to some narrative slackness in the second half, and all in all, it's not a patch on his best work to date, _The Duke of Burgundy_. Nevertheless, it's brilliantly acted, looks (and sounds) amazing, has an unparalleled commitment to the more tactile elements of the medium, is exceptionally funny, and will never allow you look at a washing machine (or a washing machine repairman) in quite the same way again.
Apparently inspired by Strickland's childhood memories of being taken to the January sales by his mother, he claims that they made such an indelible impression on his psyche that to this day, he experiences autonomous sensory meridian response whenever he encounters anything related to sales. Irrespective of this, _In Fabric_ is undeniably a consumerist satire, not entirely divorced from something like George A. Romero's _Dawn of the Dead_ (1978). The malignant control that capitalism exerts on the masses, the commodification of desire, the exploitation and manipulation of notions of self-worth, the vulgarity of a materialism serving as its own end - all are interwoven into the film's style, sensuality, and texture, much as the themes of his first three films are indistinguishable from their aesthetic design. Just look at how Strickland uses TV commercials advertising the sales; in a film partly about the impulses that drive us to purchase, these clips are the first (and certainly not the last) indication that consumerism is effectively a form of mass hypnosis. Strickland has a real talent for making theme elevate style into something more meaningful, and _In Fabric_ provides more evidence of that, with the highly-stylised aesthetic commenting on the ultimate emptiness of retail therapy, even as it seems to offer short-term happiness. Leaning into the artificiality of the film's _milieu_, Strickland makes no attempt to construct a believable, lived-in world, asking not only how do the customers of Dentley & Soper not realise something is wrong, but so too querying whether our own real-world behaviour is any different, when we see that item we've been craving turn up in a sale.
With that in mind, although this is not an especially realistic film, it is an absolutely gorgeous film, one that gleefully embraces gaudy 70s kitsch from literally its opening frames (a perfectly manicured hand violently opening a box, followed by the most 70s title sequence you'll see all year). Reproducing the hyper-stylised look of classic giallos, the most obvious touchstone is Dario Argento's _Suspiria_ (1977), with Strickland and his young Australian director of photography Ari Wegner (_The Kettering Incident_; _Lady Macbeth_; _Stray_) bathing the film in a lurid colour palette of over-the-top reds, purples, and greens. The other-worldly vibe is helped immensely by Cavern of Anti-Matter's synth score full of harsh electronic screams and repetitive droning, and the queasy, disorientating sound design by Martin Pavey, executive producer Ben Wheatley's regular sound designer. Filling the soundtrack with non-diegetic whispering and incantations, the aural design keeps the viewer constantly on edge, as if the evil in the dress has somehow infected the magnetic track. Indeed, the sound design is just as important here as it was in _Berberian Sound Studio_, a film which was literally about sound design - just listen to the sounds of the bargain-hunting crowds in Dentley & Soper, with the incoherent mumbling of their stampede into the store turned into a chaotic, animal-like din.
One of the film's most successful elements, and one of the reasons it's so funny, is how ultra-seriously everyone takes the whole thing. Jean-Baptiste, Bill, and Squires (the three ostensible leads) all play their parts as if they're in a Ken Loach film (which all three have been in the past), whilst Strickland, for his part, approaches the whole endeavour with a similar reverence - there's no winking at the audience here, and it's the absence of such winking that makes it all so funny. From Stash and Clive explaining the correct etiquette when meeting the mistress of one's boss to the sexual power that Reg has over women once he starts explaining the inner workings of a washing machine, the film's humour is rooted firmly in the fact that no one involved acts like they're in a comedy, and it's this self-seriousness which is so disarmingly and consistently funny (just look at the Ludo game from hell or the scene where Stash and Clive discuss the difference between "_looking for staff_" and "_trying to find staff_"). The scenes of the dress crawling around Sheila's house are especially funny partly because they look so ridiculous (you can all but see the wires leading off-camera), but mainly because Strickland treats them with complete sincerity, as if he's not actually in on the joke (which he most certainly is). A film about an evil dress shouldn't work on any level except parody, yet it's precisely because the film doesn't seem parodic that it works so well, and that's a testament to his immense control of tone. This is particularly true of the batshit insane proclamations uttered by Luckmoore ("_the hesitation in your voice soon to be an echo in the recesses of the spheres of retail_"; "_our perspectives on the specters of mortality must not be confused by an askew index of commerce_"; "_dimensions and proportions transcend the prisms of our measurements_"; "_did the transaction validate your paradigm of consumerism?_"). This is pure verbal diarrhoea, and can only be in any way effective if it's roundly mocked. And yet, it's the utter dearth of mockery that renders each statement so hilarious.
In terms of problems, by the very nature of what he's trying to accomplish, Strickland is somewhat guilty of allowing the film's sensual elements to overwhelm the characters. Certainly, the film burrows under your skin and lodges there, and Strickland has absolute mastery of the difficult-to-control tactile components of the medium, but aside from Luckmoore, none of the characters really linger in the mind, despite the superb cast. None are especially interesting as people, and when the film focuses on them rather than the inherent strangeness at its core, it slackens quite a bit. From an emotional point of view, there isn't a huge amount of empathy or pathos, and had Strickland focused on just the one storyline, the whole might have worked slightly better. Or perhaps he should have gone in the other direction entirely, making it a kind of ensemble piece, with five or six different storylines, watching the dress affect different people in different ways. Also in relation to this, because the Sheila plot is so much more interesting that the Reg plot, the film seems front-loaded, which is never good. And although it didn't bother me, some people will really dislike the amount of loose ends, unexplained background elements, and narrative dead ends, especially in the bonkers last act.
Nevertheless, I really enjoyed _In Fabric_. Yet more evidence that Strickland is a master stylist (in the best sense of the term), the craft behind the film is simply beyond reproach. Feeling for all the world like a rediscovered giallo, lost for the last four decades and restored to its original glory (complete with _very_ questionable dubbing), it's cryptic and impenetrable, but so too is it hilarious and a feast for the senses. No one makes films quite like Strickland, where the existential and esoteric rub shoulders with the tactile and the sensual, where the textures of the _milieu_ leap off the screen right alongside the themes. Hypnotic, seductive, immensely enjoyable, _In Fabric_ is quite unlike anything you'll see all year.
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Title : Backdraft 2 Backdraft 2 genre : Action, Crime, Drama Backdraft 2 crew : Brian Grazer, Ron Howard, Raffaella De Laurentiis, Randy Edelman, Burton J. LeBlanc, Gregory Widen, Gregory Widen, Gregory Widen, Gillian Hawser, Hester Hargett Backdraft 2 release date : 18 June 19 1 2 Backdraft 2 runtime : 102 Minutes Backdraft 2 Crew : Brian Grazer, Ron Howard, Raffaella De Laurentiis, Randy Edelman, Burton J. LeBlanc, Gregory Widen, Gregory Widen, Gregory Widen, Gillian Hawser, Hester Hargett Backdraft 2 movie cast : Joe Anderson, Alisha Bailey, Jessamine-Bliss Bell, William Baldwin, Donald Sutherland, Patrick Walshe McBride, Alastair Mackenzie, Mark Arnold, Emily Barber, Ross O'Hennessy ========================ஜ۩۞۩ஜ==========================
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Years after the original Backdraft, Sean, son of the late Steve "Bull" McCaffrey, is assigned to investigate a deadly fire only to realize it is something much more sinister. Backdraft 2 2019 review :
