Though unapologetic in how differently it approaches tone, style and narrative from the glossy Argento classic, as a companion piece, Suspiria fleshes out the ideas present in the original and elevates them to a grandiose distinction
Good intentions mean a lot and Gold would know more about the disabled Hollywood experience than any of us, but this does not make her film any less better structured or clear in its overall intention. I applaud her for wanting to open up the conversation, but opening it up does not go far enough, especially when we have known the conversation has existed long before Gold's film came to be.
Though it puts a strong foot forward, the more I Think We're Alone Now and Del opens up to you the more predictable and meandering its vision of unconventional friendships for the end of the world becomes.
With his latest, maverick actor/director Shinya Tsukamoto continues his later career's exploration of more traditional genre forms examined under his iconoclast perspective with the condensed and eclectic samurai drama Killing.
A Whale of a Tale is the intermediate approach writ large, and though it has its moments in dispelling The Cove's hypocrisy and misinformation and shattering the Taiji fishermen's inaccurate cultural justification for their brutal practice, it is still the meager sucker fish clinging to another film for dear life while being inconsequential in its own terms.
Caught in the reflection of a looming global conflict, the carefree souls that fill out Nobuhiko Obayashi’s unsurprisingly absurd and surreal latest waste away their last few months of innocence while the world and its war threaten to encroach on their idyllic
Filmed in sterile monochrome, with an almost clinical restraint, The Forest of the Lost Souls strives to mask its chosen forest with an ethereal cloak that would hope to convince the viewer something abstruse was lurking behind its utterly mundane locale.