Mike Flanagan is quietly making a name for himself. Hush got a bit of internet buzz when it was released on Netflix in 2016, and while Before I Wake didn’t pick up anywhere near the same momentum, there were hints of his growing talent. It was enough to convince Netflix to put faith in him and fund his passion project, Stephen King’s Gerald’s Game – a book he used to take to meetings just in case he could convince someone to let him make it.
Noel Clarke has something that a lot of actors would kill for. It doesn’t matter who is playing, or in what genre, you want to like him. That likability is not the sole reason he’s been able to succeed as a writer, director and performer, but it’s certainly helped. Sadly, it’s not enough to save The Anomaly from what it is, a bit of a stinker.
Kicking off in the immediate aftermath of [•REC], [•REC]² sees us return to the block of flats with a zombie problem. This time we’re looking through the cameras of a SWAT team who have been tasked with accompanying Dr Owen (Jonathan Mellor) as he attempts to clear up this mess. Unfortunately for them, they haven’t been told the whole story and when they enter the building, shit quickly begins to go down.
Where do you start with mother!? Darren Aronofsky’s latest is as much a mystery as a film, and its advertising campaign has aimed to create confusion rather than clarity. The director wants you to go in with as little information as possible and discover this twisted journey for yourself.
Hardcore is a simple genre. I love it, but it’s true, and its punk roots are still strong in that regard. However, even simplicity can be tinkered with and over the last few years, there has been an influx of bands who use hardcore as a base. A base from which they can branch out into other genres. A big part of this is melding hardcore with its metallic brothers but not in the vein of the million identikit metalcore bands that roam the planet. Instead, these are actual hardcore bands with actual metal influences.
A film where Casey Affleck spends 90% of the running time dressed like a last-minute Halloween costume and in which a camera sits and focuses on Rooney Mara for nine minutes as she devours a pie could have gone, well, any number of ways to be honest but most of them would be bad. However, if you can stomach the long lingering shots and the Terrence Malick feel to this dreamy reflection on grief, then there is something here. I’m not quite sure what, but it’s there.
If you were judging solely by the marketing, then you’d be forgiving for believing that It Comes At Night was a pretty straight forward horror film. The type with plenty of jump scares for groups of teenagers to scream at in delight. Sadly, for them, we can only imagine a few of those groups have gone home unhappy.