Film Review: The Crow (2024)

It's hard to deny that the new rendition of the The Crow murder & revenge story is not stylish. The tattoos, the dark lights, the janky spaces - all of it fits into The Crow's neo-gothic iconography. However, in the clash of style versus substance, director Rupert Sanders found very little substance. Because of that, the result is a bland retelling of the film that back in 1994 had so many macabre vibes going for it, even though a bit of that came from the tragedy of Brandon Lee's death.

In the 2024 version, yes, there is a lot of fictional, violent death as well and loads of goth visuals too (not on the level of the brilliant Nosferatu, but still sufficient). But, the chemistry that should either bind characters in eternal love or place them on a path of bloody vengeance is missing. Bill Skarsgård does well as the torn Eric but fails to get it on with FKA twigs. Danny Huston is always interesting to watch, but as the main antagonist, he simply fails to make his character have the kinetic force of evil that is needed here.

Sanders is by no means an inexperienced director, but with The Crow, so much stuff simply falls through the metal mesh floor that should have been the film's foundation. I'm certain that the same foundation in this case has to be the characters, but there's just too much room between all of them, allowing for so much void space. The same sense of pretty emptiness is what the film ends up providing to its viewers.

Hi How Are You? (2023) - Meditative Journey into the Heart of Love

Having a feature-length movie recorded on nothing but iPhones and doing so primarily in selfie mode might sound like a strange idea. However, the movie Hi How Are You shows that ultimately, like ever, the substance overcomes the format. In this romantic drama with a strong undercurrent of science fiction, two souls reconnect with each other when a hangover Lou, who is in Paris, decides to call Mani, a rock star from Iran who's in New York. At the same time, a celestial body called MX6292 apparently sets itself on a collision course with the Earth. 

Through conversations ranging from video calls between friends to amateur scientists calling into news channels, the unusual video format works well. The film includes many characters that slowly revolve around Lou and Mani, while at the same time, something much larger is taking place in the endless void above. Interestingly, the film also uses plenty of VFX and superimposed elements in its shots, like billboards and other details in external locations, which all work surprisingly harmoniously with each other.

The film was written and directed by Clemy Clarke, who is a French filmmaker living in Los Angeles. Clarke brought an interesting blend of sensibilities to the film, showing something hard to pinpoint geographically, both literally and metaphorically. However, the film's overall ambiance and sensitivity to a changing, interconnected world, which can still feel so lonely, is incredibly poignant.

Through many languages, covering English, French, and Farsi, Hi How Are You? tells a very natural story of relationships that forever change and evolve, but which still yearn for that essential connection and the love that lies behind it all. Because of that, the element of the mysterious celestial body works so well on focusing the otherwise very loosely threaded story. The film's tragic and powerful culmination, which is fully steeped in music, is, in the end, all about that human connection.

In a very shrewd manner, Clarke bridges so many of these surface ideas of what it is to be alive in this strange and modern world of ours. She then funnels them all towards the core of the film - which is a love story, told from such a strong, universally human, perspective. In the end, the tale of this touching film shows us that it really is all about - love.

Watch Hi How Are You? on Amazon Prime today!

Film Review: Nosferatu (2024)

The wholehearted dedication that director Robert Eggers provided to gothic horror during the making of Nosferatu is mind-blowing. This director, who has so far been somewhat of a mixed bag for me - The Lighthouse, for example, was a thoroughly unenjoyable experience - went above and beyond to do justice to its source material. In this case, this is not the Bram Stoker novel, but its unauthorized German adaptation from 1922, called Nosferatu.

The film, today iconic for its visuals but unknown to many, did slight adjustments to the story of Count Dracula and Eggers decided to focus on that rendition completely. Besides that, he also stayed true to the dramatic and often tragic concepts of gothic horror and romanticism in general, providing a script that must have been read in a very odd and offbeat way. Finally, Eggers managed to mix into that a lot of pan-Slavic, pagan-rooted notions and rituals, focusing on Eastern Romania and the region of Transylvania. For the making of the film, this brilliant director even found inspiration in art like the Yugoslav TV movie The She-Butterfly, an obscure work of Balkan filmmaking.

The cast fully embraced this brilliant script. Bill Skarsgård, Lily-Rose Depp, and Nicholas Hoult are top-notch in their lead roles, while Willem Dafoe is simply mesmerizing in every scene he appears as the wise and learned Albin Eberhart von Franz (Van Helsing, in the original tale). Throughout the film, breathtaking cinematography follows the storyline to the heartbeat, even with its drastic changes in scenery and settings, covering castles from high mountains, strange ships on high seas, and beautiful salons from high German society. Even the ending, which will disappoint many who are looking for regular vampire horror tropes, is a tiny masterpiece in its own right.

Many stated for some time that Robert Eggers is one of the leading film directors of his generation. I can honestly say that I didn’t fully see things the same way for a long time, despite many hints and glimmers of that greatness. Then, I watched Nosferatu and so should you.

Film Review: Carry-On (2024)

Jason Bateman is a versatile actor, but Carry-On puts a lot of weight on his shoulders as key bad guy of Carry-On. Like in any action thriller, the bad guy is just as important as the main protagonist, here played by Taron Egerton. But, sadly for both of them and the audience, the film never manages to find the right formula between their interactions and the subsequent anticipation, where this tale of Novichok ends up - ironically - very lacking in the department of on-screen chemistry.

Instead of something that will be the new version of Die Hard 2, the film sends us into the grotto of the Transportation Security Administration or TSA in a huge Los Angeles airport. Here, Ethan, played by Egerton, has a day from the depths of hell when the mysterious Traveler pulls him into a web of lies, deceit, and mortal danger. In the heart of it all is a case with the Novichok agents that the Traveler needs to put on a plane at LAX, no matter the cost. Ethan, on the other hand, has to stop him and still keep his life and the life of his pregnant girlfriend, or trade these for countless victims of the deadly compound.

The entire Carry-On could have been somewhat improved by shortening all of its phases, as well as taking out the completely redundant sequence in the luggage facility. It feels incredibly laden with CGI and ultimately serves no purpose other than to try and chase (pun intended) some relatively novel action thrills. However, the sequence, like the entire film, needed a bit of afterthought from the director Jaume Collet-Serra, as well as some cutting down of runtime. This wouldn’t have turned Carry-On into a masterpiece of action cinema - that ultimately lies in the lacking dynamic between Bateman and Egerton - but would have made it a bit more compact and appealing.

Acceptance is the Beginning - Crowdfunding Campaign for a Powerful Faith-Based Film

 

Stephen L. Satterfield is a true movie industry veteran, with over 30 films under his belt. He began his career back in 2017 and has worked as a producer, writer, and actor since then. Back in 2022, he wrote a script called Acceptance is the Beginning, and now, with the help of an Indiegogo campaign, he is working to turn it into a reality. Here's how Stephen describes his upcoming project:

Acceptance is the Beginning is truly about sharing the message and promises of Christianity. I do warn that the film has an unapologetically evangelical perspective, and I ask all to consider that when donating as I respect free will, too. The main character is depressed and without faith and hope. The main character also has an opportunity to unwittingly share his problems and his grief with an angel and demon.

The premise of the film looks really interesting and engaging, especially from the perspective of the Christian faith. At the same time, Stephen aims to produce his work where he also resides. That means that the film should be shot in the coming summer at a location in the US, more precisely in Tulsa, Oklahoma.

Here's where the crowdfunding campaign comes in. Stephen is raising the first target of a very modest $500 in a flexible Indiegogo campaign and it is presently at 59 percent, with 28 days to go. If you'd like to see Acceptance is the Beginning see the light of a day as a finished project, consider helping Stephen either by donating directly on the film's Indiegogo page or by spreading the word about the campaign on social media!

Film Review: I Saw the TV Glow (2024)

As someone born in the 1980s, I too, just like I Saw the TV Glow, can attest to the power of great television. In my case, the shows of choice during my childhood include a narrow band of science fiction, mainly seen in The X-Files, Star Trek: Deep Space 9, and Star Trek: Voyager. In these shows, as a kid, I found almost total immersion, where I truly got lost in each episode into a very believable world that is so much unlike my own reality.

I Saw the TV Glow focuses on that mental and emotional space for its two main characters, Owen and Maddy. Both of them are growing up in the US suburbs and finding life incredibly challenging as teens in 1996. However, what also binds them together is The Pink Opaque, a fictional TV show that features two characters with a psychic connection who are fighting an ever-present, but subtle evil force seen in the form of Mr. Melancholy.

The film was written and directed by Jane Schoenbrun, who clearly also understands the power and horror of finding escape from both the real world and the physical bodies that inhabit it. The experience of watching I Saw the TV Glow is thus very odd, as it mixes tones of teen bonding and finding solace in each other's company, with a sharp sense of dread and despair, even utter horror. The latter come from the lifestyles that are to a point forced on the main characters, as well as their controlled and asserted perceptions of themselves.

Here, in this space filled with so many feelings, the fantastic musical soundtrack only enhances this unique experience of belonging and very much sticking out. Both main characters, played by Justice Smith and Brigette Lundy-Paine, do a great job in trying to communicate this sense of split self to each other and the audience, which is so hard to explain with words. That is why both of them, just like the film in its entirety, succeeds brilliantly in showing just a glimpse - but still a powerful one - of lives where people never belong, yet yearn so much to do nothing more than fit in somewhere.