Great group of actors, ably led by Marshall-Green, who was tremendous in 'Quarry'. He's a man battling grief and suspicion. People talk badly about paranoia, but there is a thing called 'healthy paranoia'. It could also be called curiosity. People make excuses for weird behaviour instead of trying to figure it out. Group dynamics usually means that people are too polite to ask questions. Don't lock the fucking door!
Starts off quite well - has a weirdly unsettling atmosphere and provides some psychological thrills when the viewer is questioning the reality of some scenes. However, it loses its steam in the second part and the conclusion with the cult stuff is just disappointing.
So when I say "a that taut and tense thriller about men being trapped in a house that have full of sinister things lurking behind, opens with the protagonists running over a wild animal with their car, and directed not by white male", I am not talking about GET OUT.
This started off interesting and even kind of promising but ends up being by the numbers...the main failing of this film is how the second half meanders in the last 35-40mins.Too predictable overall and the "twist" isn't original nor even executed properly since you can see it coming 20mins into the film. One other annoyance is how much Will actually broods & weeps to himself alone in a house that isn't his anymore.
2-3. This movie screams 'basically competent' from its script to its direction, but it does throw a few nice genre curveballs our way as a horror movie. It is a bit of a trick to know the premises from which the movie is critiquing its chief subjects of focus; for example, the cult members are distastefully easygoing, but being stuck on past pains isn't good either. So where, exactly, does that leave us?
Entire film is subdued to a big finale and it feels through characters that are mostly just extension of interiors waiting for mayhem; while they try to reach for something supposedly personal but fall flat at the end. Ending itself is sort of rewarding in a terms of not being completely expected, while its message comes as a cliche, which still doesn't ruin a tension that preceded it and fun one time to watch.
Anyone familiar with this sort of film won't find the twist terribly surprising, but the focus on character and emotional acuity makes it all work. The final act is great, but everything before it makes the ultimate destination feel so much more tragic. Less a horror film than a meditation on grief and what happens to people in a culture when social niceties and facades obscure the truth.
A biting critique of LA culture that get's silly and nonsensical by the end. This low budget thriller packs a nice punch but lacks a clear Act 2 tension. Shit predictably hits the fan in Act 3, but once the hands have been shown, there is no ace up this script's sleeve. It ends predictably with an additionally little gag that adds to the social commentary but lacks little sense. Still, a strong showing for Kusama.
Given a certain self-evidence to its punchline, it's normal to expect a little more detail from the bulk of Kusama's gorgeously shot dinner party. Instead at its centre I spied a cynical dig at the ways others might process grief, and a validation for our ubiquitous suspicion of the "New Age". The half-defined criticism didn't land, but I will offer the Kusama helmed 'Halt and Catch Fire' ep as proof of her chops.