H&G talk through their most anticipated film of the summer, Hereditary, along with Ocean’s 8, Hotel Artemis, First Reformed, Mary Shelley, On Chesil Beach and what’s what this week in home entertainment.
Listen in HERE.
Tag Archives: movie podcasts
Screening Room: Sea of Love
Welcome back to The Screening Room! This week we tackle the true-life tale Adrift, the surprising Tom-Hardy-&-David-Cronenberg-esque Upgrade, plus Let the Sunshine In, The Rider and what’s new in home entertainment.
Listen to the full podcast HERE.
Screening Room: Underestimated Women
Recorded live at the Columbus Podcast Fest, this week’s Screening Room takes a look at Melissa McCarthy’s latest, Life of the Party, as well as Breaking In, Terminal, Revenge and the latest in home entertainment.
Listen to the full podcast HERE.
The Screening Room: Pretty, Dumb and Powerful
Join us in the Screening Room where we discuss I Feel Pretty, Super Troopers 2, Traffik, You Were Never Really Here and everything fit to watch on home entertainment.
Listen to the full podcast HERE.
Screening Room: Keep it Down!
Sssshhhhh! We get too excited to keep our voices down, talking about A Quiet Place, Blockers, Isle of Dogs and the less exciting The Leisure Seeker, plus everything worth checking on in home entertainment.
Listen to the podcast HERE.
Fright Club: Mothers and Daughters in Horror
The relationship between mothers and daughters informs an awful lot of great horror films from The Exorcist to Black Swan. Frightmare suggests that becoming your mother is inescapable. The Woman tells us that if we can’t raise our daughters right, a more alpha mom might show up and do it for us. The Ring and Mom and Dad remind us that moms aren’t perfect. They have bad days. Sometimes they may want to drop you down a well.
We focus on five horror films where that relationship between mother and daughter informs and impacts the storyline in a substantial way.
5. The Bad Seed (1956)
The minute delicate Christine’s (Nancy Kelly) husband leaves for his 4-week assignment in DC, their way-too-perfect daughter begins to betray some scary behavior. The creepy handyman Leroy (Henry Jones) has her figured out – he knows she’s not as perfect as she pretends.
You may be tempted to abandon the film in its first reel, feeling as if you know where it’s going. You’ll be right, but there are two big reasons to stick it out. One is that Bad Seed did it first, and did it well, considering the conservative cinematic limitations of the Fifties.
Second, because director Mervyn LeRoy’s approach – not a single vile act appears onscreen – gives the picture an air of restraint and dignity while employing the perversity of individual imaginations to ramp up the creepiness.
Enough can’t be said about Patty McCormack. There’s surprising nuance in her manipulations, and the Oscar-nominated 9-year-old handles the role with both grace and menace.
4. Hounds of Love (2016)
It is the late 1980s in Perth, Australia, and at least one young girl has already gone missing when the grounded Vicki (Ashleigh Cummings) sneaks out her bedroom window to attend a party. She doesn’t like staying with her mom, who left her dad and ruined the family and her life.
So she sneaks out, which isn’t nearly as dumb a move as is accepting a ride from Evie White (Emma Booth) and her husband, John (Stephen Curry).
Writer/director Ben Young’s amazing feature debut works on so many levels and showcases a master visual storyteller almost as brilliantly as it shines the light on three phenomenal performances.
What is it that may finally undo the evil the Whites have planned? One mother’s relentless devotion to her daughter and another mother’s sudden, stabbing empathy.
https://www.youtube.com/watch?v=UNEurXzvHqE
3. Eyes of My Mother (2016)
Francisca’s mother had been an eye surgeon back in Portugal.
“We used to do dissections together. She always hoped I’d be a surgeon one day.”
Though Mom appears only in Act 1 of writer/director Nicolas Pesce’s modern horror masterpiece Eyes of My Mother, her presence echoes throughout the lonely farmhouse Francesca rarely leaves.
Yes, the skills her mother imparted coupled with the trauma Francesca faced bleeds together to create a character whose splintered psyche keeps her from seeing that she’s taking some extreme measures to cure her lonliness.
This is one of the most beautifully filmed horror movies ever made, and as impeccable as the cinematography, the sound is even more important and magnificent. Together with restrained performances and jarring images, Eyes of My Mother is a film that sticks around even after it’s gone. Like a mom.
2. The Witch (2015)
There is a lot going wrong for poor Thomasin (Anya Taylor-Joy). But it all starts when the baby goes missing on her watch. Her mother (Kate Dickie) never forgives her for it and soon Mother is finding faults with Thomasin, making accusations that even Father, who knows better, won’t defend.
For The Witch to work, for us to tentatively hope that Black Philip talks back, Thomasin has to basically lose everything, and it all starts with her mother’s love and respect. Soon her mother’s bitterness turns to competition for the affection of the menfolk, accusations of all sorts of wrongoing, all of which spirals out of control until Thomasin has no one left, no one who will love her and look after her, except that goat.
Robert Egger’s unerringly authentic deep dive into radicalization, gender inequality and isolation is all sparked with one act that irrevocably ruptures one relationship.
1. Carrie (1976)
There is nobody quite like Margaret White. Oscar nominee Piper Laurie saw the zealot for all her potential and created the greatest overbearing mother film has ever seen. (We never did see Mrs. Bates, did we?)
Sissy Spacek (also Oscar nominated for her performance) is the perfect balance of freckle-faced vulnerability and awed vengeance. Her simpleton characterization would have been overdone were it not for Laurie’s glorious, evil zeal. It’s easy to believe this particular mother could have successfully smothered a daughter into Carrie’s stupor.
De Palma and screenwriter Lawrence D. Cohen streamline King’s meandering finale. Wise, because once the dance drama is done, we just want to find out what happens at home, and Mrs. White doesn’t disappoint.
Screening Room: Game On!
This week’s Screening Room Podcast looks at Spielberg’s latest, Ready Player One, plus Tyler Perry’s Acrimony, Flower and what to look for in this week’s new home entertainment releases.
Check out the full podcast HERE.
Fright Club: Death + Sex
A few weeks ago we covered Sex and Death. That is, the act of sex leads directly to death. Sex kills you.
This week, as a kind of wrong-headed sibling, we talk with B Movie Bros about Death and Sex. Which is to say, the death part comes first. Either party can be dead, or both can. Reanimated corpses are fine, if that’s your thing. Just as long as at least one participant is dead.
5. Living Doll (1990)
Though few scenes go by that don’t showcase Katie Orgill’s bare breasts, this odd British import is just a sweet romance at its heart. It’s a romance between a young mortician/med student and the corpse of his unrequited love, which doesn’t sound that sweet, I’ll grant you, but between Mark Jax’s delusional naivete and the strangely tender script penned by director George Dugdale with Paul Hart-Wilden and Mark Ezra, the film may openly flirt with necromancy, but it courts true romance.
Why is Christine (Orgill) buried naked? Why does everyone hide their British accents—and so poorly? Why clutter the film with so many atrocious actors? Why is Orgill so bad at holding her breath? Who knows or cares, when Eartha Kitt plays the landlady?
The film is weirdly memorable—equally grotesque and tender-hearted. You can’t exactly look past its snail’s pace or poor acting, but it works on you. There’s not much else like it.
4. The Corpse of Anna Fritz (2015)
Young hospital orderly Pau (Albert Carbo) attends the morgue, where the famous actress Anna Fritz (Alba Ribas) awaits an autopsy come morning. He secretly texts a selfie with the body to two buddies. They show up to see the body.
Soon, three young men are alone with a beautiful, naked, dead woman with absolutely no chance of being interrupted for hours. If you’re a little concerned with where this may lead, well, you should be.
As a comment on rape culture, the film is a pointed and singular horror.
Sort of a cross between 2008’s irredeemable rape fantasy Deadgirl and Tarantino’s brilliant Kill Bill, The Corpse of Anna Fritz will take you places you’d rather not go.
And while contrivances pile up like cadavers in a morgue, each one poking a hole in the credibility of the narrative being built, The Corpse of Anna Fritz has a lot more to offer than you might expect—assuming you stick it out past the first reel.
3. The Neon Demon (2016)
“Beauty isn’t everything, it’s the only thing.”
So says an uncredited Alessandro Nivola, a fashion designer waxing philosophic in Nicolas Winding Refn’s (Bronson, Drive) nightmarish new film The Neon Demon.
The line, of course, is borrowed. Refn tweaks the familiar idea to suit his fluid, perfectly framed, cynical vision.
Jesse (Elle Fanning) is an underaged modeling hopeful recently relocated to a sketchy motel in Pasadena. Will she be swallowed whole by the darker, more monstrous elements of Hollywood?
Or is Ruby (Jena Malone) the godsend of a friend Jesse needs?
Nope. And she’s not to be trusted with the kind of beautiful corpses you might find in an LA mortuary, either.
2. We Are the Flesh (2016)
Are you squeamish?
First-time feature writer/director Emiliano Rocha Minter announces his presence with authority—and a lot of body fluids—in this carnal horror show.
A hellish vision if ever there was one, the film opens on a filthy man with a lot of packing tape. He’s taking different types of nastiness, taping it inside a plastic drum to ferment, and eventually turning it into a drink or a drug. Hard to tell—loud drum banging follows, as well as hallucinations and really, really deep sleep.
During that sleep we meet two siblings, a teenaged brother and sister who’ve stumbled into the abandoned building where the hermit lives.
What happens next? What doesn’t?! Incest, cannibalism, a lot of shared body fluids of every manner, rape, necrophilia—a lot of stuff, none of it pleasant.
Minter has created a fever dream as close to hell as anything we’ve seen since last year’s Turkish nightmare Baskin.
There’s little chance you’ll watch this film in its entirety without diverting your eyes—whether your concern is the problematic sexuality or just the onslaught of viscous secretions, the screen is a slurry of shit you don’t really want to see.
https://www.youtube.com/watch?v=BnTY6q7bt78
1. Dead Alive (1992)
Rated R for “an abundance of outrageous gore,” Dead Alive is everything the young Peter Jackson did well. It’s a bright, silly, outrageously gory bloodbath.
Lionel Cosgrove (Timothy Balme) secretly loves shopkeeper Paquita Maria Sanchez (Diana Penalver).His overbearing sadist of a mother does not take well to her son’s new outside-the-home interests. Mum follows the lovebirds to a date at the zoo, where she’s bitten (pretty hilariously) by a Sumatran rat-monkey (do not mistake this dangerous creature for a rabid Muppet or misshapen lump of clay).
The bite kills her, but not before she can squeeze pus into some soup and wreak general havoc, which is nothing compared to the hell she raises once she comes back from the dead. Soon enough, Lionel has a houseful of reanimated corpses, some of them a bit randy.
You ever wonder where a zombie baby comes from?
The Screening Room: Raiders New and Old
This week in the Screening Room we hash out the good and the bac: Tomb Raider, Love, Simon, 7 Days in Entebbe plus everything out this week in home entertainment.
Listen to the full podcast HERE.
The Screening Room: Follow the Light
So many movies to talk about this week! Let us help you decide where to devote your energy: A Wrinkle in Time, The Hurricane Heist, Thoroughbreds or The Strangers: Prey at Night. We also run through the scads of new releases in home entertainment.
Listen HERE.
