Tag Archives: horror

SCREENWASH HORROR REVIEWS: A QUIET PLACE (2018) & UNSANE (2018)

SCREENWASH HORROR REVIEWS: UNSANE (2018) & A QUIET PLACE (2018)

Many of us like to be scared and thrilled and made tense, especially if it is in the darkened recesses of the cinema. Because as the adrenaline and stress levels rise we know, at the back of our minds, we’re safe. Nothing can actually harm us because it’s happening on a screen. Yet witnessing characters in danger of harm or death can be an exhilarating and cathartic experience for many. Indeed, watching films of the horror or thriller genres is subconsciously akin to a near-death experience; as facing the reaper from a position of relative safety is part of the excitement of going to the movies.

I do love a good horror or thriller – I really do! So was really pleased when two decent ones came out at the cinema last week. Thus, here are two reviews for the price of one of Unsane (2018) and A Quiet Place (2018); both with the usual mark out of eleven.

A QUIET PLACE (2018)

Directed By: John Krasinski

Produced by: Michael Bay, Andrew Form, Brad Fuller

Screenplay by: Bryan Woods/Scott Beck & John Krasinski

Starring: Emily Blunt, John Krasinski

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Without hardly any fanfare or major marketing campaign this superior monster film has crept up and, in a similar fashion to Get Out (2017), really got audiences flexing their “word-of-mouth” muscles. In fact, while it doesn’t have the socio-political dimension of Jordan Peele’s Oscar winner, I actually think it’s an even better horror film. Throughout A Quiet Place my heart was literally living in my mouth as my fingers and knuckles clenched and whitened during the whole tense escapade.

The story is quickly and economically established via a brilliant opening scene full of dread and silence. Emily Blunt and John Krasinski’s “every-couple” and their three children are surviving in a post-invasion period where monstrous creatures have wreaked havoc on Earth. Using sound to hunt humans must remain absolutely silent or: NO MORE HUMANS!!  This simple but ingenious premise drives the story and action as the lean and powerful script delivers some incredible moments of horror and suspense. The real-life husband and wife acting team bring a believable humanity to the characters and Blunt especially is phenomenal in her reaction and character work.

Mark: 9.5 out of 11

 

UNSANE (2018)

Directed by: Steven Soderbergh

Produced by: Joseph Malloch

Written by: Jonathan Bernstein/James Greer

Starring: Claire Foy, Joshua Leonard, Jay Pharoah, Juno Temple

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Unlike A Quiet Place this Steven Soderbergh directed thriller focusses on a different kind of monster; that which lives silently in the recesses of the mind. Claire Foy portrays, the unlikely named Sawyer Valentini, a financial analyst who after visiting a psychotherapist finds herself plunged into a horrific ordeal on a psychiatric ward which threatens her sanity.

This is a gripping story which, despite a few plot-holes, raises the tension and drama by making us unsure as to whether Foy’s character is a reliable or unreliable narrator. Soderbergh, who apparently shot much of the film on an IPhone 7, is an expert filmmaker as we feel trapped and claustrophobic during the lead protagonist’s hellish nightmare.

Like his previous film, the brilliant Side Effects (2013), the film also has important points to make about the Healthcare system in the United States, and overall I was drawn in by Foy’s excellent performance. I also liked the fact that she was kind of unlikeable too as the uncertainly whether to believe her paranoiac delusions propelled this fascinating low-budget-B-movie narrative.

Mark: 8 out of 11

 

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NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER!

NINE REASONS WHY INSIDE NO. 9 IS ONE OF THE BEST TV SHOWS EVER!

Having just finished watching Season 4 of the incredible anthology TV show Inside No. 9, I felt compelled to write why it is so good! So here are NINE reasons why it is one of the best TV shows I have ever seen.

 

  1. League of (Two) Gentlemen

Inside No. 9 is written by and stars Steve Pemberton and Reece Shearsmith. Both are brilliant comedic and dramatic actors having appeared in many TV shows and films down the years. They are arguably most famous for beginning their careers in cult comedic troupe The League of Gentlemen; however, their work on Inside No. 9 actually surpasses the ‘League’ in my view.

 

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  1. Cast

Shearsmith and Pemberton, along with themselves, are able to cast well-known actors from stage and screen in supporting roles. Part of the fun of many episodes is spotting such guest appearances with, in many cases, the ensemble brilliance of the actors bouncing sparks of each other. Inside No. 9 has featured talented performers including:  Timothy West, Fiona Shaw, Jack Whitehall, David Warner, Denis Lawson, Sheridan Smith, Rory Kinnear, Conleth Hill, Alison Steadman, Noel Clarke, Philip Glenister, Zoe Wanamaker, Keeley Hawes, Nikki Amuka-Bird, Derek Jacobi and many more.

 

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  1. Writing

Each episode is self-contained within a 30 minute one-off story. The challenge therefore is to create a compelling narrative which establishes: theme, character, setting and the drama quickly in order to draw the audience in and subsequently entertain. Like similar classic anthology shows such as The Twilight Zone and Tales of the Unexpected the writers do this brilliantly and conversely, for me, every script is a joy to experience again and again.

 

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  1. Genre

Shearsmith and Pemberton are experienced actor and performers with great range. They initially worked in comedy, however, The League of Gentlemen and Psychoville contained heavy infusions of horror and grotesque which scared and disgusted amidst the laughter. Inside No. 9 could be described as comedy but it crosses many other genres too. Episodes such as: The Harrowing (Season 1) and Séance Time (S2) and Devil of Christmas (S3) are firmly fixed in the horror genre; Tom and Gerri (S1) and Diddle, Diddle Dumpling (S3) and Nana’s Party (S2) are contemporary domestic dramas; The Trial of Elizabeth Gadge (S2) evoked historical dramas; and silent and slapstick comedy is represented by the sublime A Quiet Night In (S1). Every episode is beautifully devised within its set milieu and genre creating a rewarding viewing experience.

 

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  1. Number 9

During the whole four seasons, as well as the writing being spot on, there is much imagination in the details. For example, the No. 9 is not just the house number of the story location it is also a: dressing room, sleeper car, barn, call centre, shoe-size, study, karaoke booth, gallery space and church hall. Such locations show the diverse imagination of the writers and various spaces of these wonderful stories.

 

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  1. Emotion

Stories are nothing without compelling characters. Amidst the gags, one-liners, horror, drama and clever writing you have to care about what happens to the characters. Indeed, Inside No. 9 also delivers some compelling stories which contain much emotion and pathos. The 12 Days Of Christine (S2) is one of the most blistering dramatic arcs I have seen within a short form TV show. Similarly, Tom and Gerri (S1), Diddle, Diddle Dumpling (S3), To Have and To Hold (S4) and Bernie Clifton’s Dressing Room (S4) contain very powerful endings that shock the heart as well as the mind.

 

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  1. Form and Style

Shearsmith and Pemberton are not only great actors and writers; they are also drenched in film, TV and cultural knowledge. As such, their work on Inside No. 9 is consistently reflexive and inter-textually referencing pop culture. In the: The Devil of Christmas (S3) they reference DVD commentaries and 1970s horror TV; in Once Removed (S4) they do a Memento (2000) and tell the story backwards; while in Zanzibar (S4) the characters deliver lines in iambic pentameter. However, stylistic or formalistic devices do not impinge on the narrative polarity but enhance the viewing experience.

 

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  1. Twists in the Tale

Ah, I love a good story twist as I grew up watching shows such as: Hitchcock Presents, Tales of the Unexpected, The Twilight Zone, Armchair Theatre and The Outer Limits to name a few. Inside No. 9 follows in the tradition of these classic programmes by often flipping narrative expectations with delicious results. Much fun can be derived trying to work out the twist too and even if you can see it coming that still adds to the entertainment factor to me. But WHEN YOU DON’T see it the programme becomes something else altogether!

 

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  1. Favourite Six Episodes

Tough one this but if I had to choose my favourite six episodes (out of 24 so far) I would go with the following (in production order):

  • A Quiet Night In (2014) – two burglars try to steal a painting in silent comedy classic.
  • La Couchette (2015) – a train sleeper car provides the setting for a hilarious night of comedy chaos.
  • The 12 Days of Christine (2015) – Sheridan Smith shines in this haunting and beautiful character profile of a young woman.
  • The Riddle of the Sphinx (2016) – ultra clever crossword dominated thriller set in a University study.
  • Diddle Diddle Dumpling (2017) – Shearsmith and Keeley Hawes excel as a couple whose lives are impacted by obsession and a lost shoe.
  • Bernie Clifton’s Dressing Room (2018) – two failed TV entertainers bicker as they prepare to perform their act one last time.

 

 

 

 

 

 

 

Del Toro drowns us in a sea of love and visual splendour! THE SHAPE OF WATER (2017): CINEMA REVIEW

THE SHAPE OF WATER (2017): CINEMA REVIEW

Directed by: Guillermo del Toro

Produced by: Guillermo del Toro, J. Miles Dale

Screenplay by: Guillermo del Toro, Vanessa Taylor

Starring: Sally Hawkins, Michael Shannon, Richard Jenkins, Doug Jones, Michael Stuhlbarg, Octavia Spencer

Music by: Alexandre Desplat

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**CONTAINS MILD SPOILERS**

Amidst the incredible visual magic, themes of the outsider, forbidden love and the onerous scope of the patriarchy are replete within the works of fantasist Guillermo Del Toro. They are often more than not presented within allegories too where the fantastic elements are employed to both create spellbinding awe while secretly delivering an important socio-political message. For me, Del Toro in attempting to marry grandiose concepts with important messages must be praised for his risk-taking. Above all else there is no doubt, as his latest film The Shape of Water confirms, he is a filmmaker of some brilliance.

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Del Toro’s body of work demonstrates: outsiders, freaks, the silent minority and the shunned are never far away from his vision. In The Devil’s Backbone (2001) and Pans Labyrinth (2006), children find themselves the victims of horrific civil war. While, similarly, in Hellboy (2004) war with the Nazis is central to the core as our anti-hero, a sarcastic red ‘demon’, fights against all manner of monstrous foes. Prejudice against Hellboy is also represented within his “forbidden” love for Liz Sherman (Selma Blair), while an altogether more sinister romance is shown in gothic thriller Crimson Peak (2015). Even muscular vampire-hunter played by Wesley Snipes in Blade II (2002) is a freakish hybrid who does not fit into the societal and patriarchal order.

In The Shape of Water, Del Toro has successfully taken all of these elements and themes and delivered a magical, poetic, at times disturbing, but overall incredible cinematic experience. Set during the Cold War in 1950s Washington, Sally Hawkins plays mute cleaner Elisa Esposito, who along with her friend, Zelda (a wonderful Octavia Spencer), works at a top secret U.S. army base. Silent from birth, what she lacks in voice, Elisa more than makes up for in courage, compassion and confidence. She shares her living space with retired copywriter, Giles — portrayed with incredible warmth and wit by Richard Jenkins — and his army of cats. But when a mysterious “Asset” is delivered to Elisa’s place of work she suddenly becomes entwined in an incredible story of sacrifice and love.

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The “Asset” is considered a monster by the United States Army and the security team is led by a dominant bully and alpha male called Strickland. Here, once again, Michael Shannon proves himself a formidable actor. He doesn’t just do cartoon bad guys but, thanks to some great writing and acting, Strickland is shown to be the biggest monster of the film; full of nasty quirks and a sadistic desire for control. Doug Jones as the Amphibian Man also deserves a special mention as the scenes between him and Sally Hawkins are very special. Here two silent characters are able to say more with a look, hand signal and touch than a thousand words could achieve. Del Toro supports the acting with some terrific visuals, many of them water-based, as raindrops, bath water and aquatic underwater images submerge us in a rich palette of blues and greens. The music is cleverly used too; from Alexander Desplat’s melodious score to the old classic songs of yesteryear humming from the cinema below Elsa’s apartment building.

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In any other year Sally Hawkins, and she may well still do, walk away with all the Best Actress honours;  yet she is up against the incredible Frances McDormand. Nonetheless, Hawkins gives us such a nuanced and heartrending performance you forget that she cannot speak. But that is what Del Toro does so well because throughout his oeuvre he gives voices to the outsiders, orphans, children, supposed monsters and victims of oppression. This is mainly a love story but I also enjoyed the brilliant writing from Vanessa Taylor and Del Toro as the script leaps from romance to horror, suspense, action, cold-war thriller and black comedy. Overall, within this magical experience Del Toro invites us into a dark world where prejudice is ultimately defeated by tenderness; and brutality will never stop the path of true love.

Mark: 10 out of 11

Charlie Brooker shines darkly again! BLACK MIRROR (Season 4) – Netflix Review

BLACK MIRROR – SEASON 4 – TV / NETFLIX REVIEW

Created by: Charlie Brooker

Producer(s): Barney Reisz, Charlie Brooker, Annabel Jones

Distributors: Endemol UK – Netflix

Season 4: 6 Episodes

Writer(s): Charlie Brooker plus William Bridges (USS Callister)

Directors: Toby Haynes, Jodie Foster, John Hillcoat, Tim Van Patten, David Slade, Colm McCarthy

Cast: Jesse Plemons, Cristin Milioti, Jimmi Simpson, Michaela Coel, Billy Magnussen, Rosemarie DeWitt, Brenna Harding, Andrea Riseborough, Kiran Sonia Sawar, Andrew Gower, Georgina Campbell, Joe Cole, Maxine Peake, Douglas Hodge, Letitia Wright etc.

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Technology: the final frontier; allowing humans to boldly go where no human has gone before.  Indeed, one of the most incredible elements of our world is the technological breakthroughs we have made over the past century or so. We have: electricity, nuclear power, robots, driverless vehicles, television screens, computers, mobile phones, satellites, GPS tracking, drones, 3D printing, smart home air-conditioning, Hadron Colliders, huge space-ships which travel beyond the stars, WI-FI, the world-wide-web connecting everyone with anyone, holograms, the social media phenomenon, virtual reality head-sets, software algorithms, x-rays, gamma knifes, DNA, cloning, MRI scans, Hyperloop tube trains, Sat-Nav, Google, immersive video-games; plus many more medical, military and industrial inventions which make our lives so easy today.

But with such wonderful and fantastic discoveries there is always a dark side. While we may create a medical breakthrough which cures on the one hand we’ll ultimately invent some new weapon or means with which to kill ourselves. So while technology is mainstay of our existence it also can feed our obsessions and thus become an extension of our poor choices, violence and insanity. The scariest thing is we think technology is absolutely necessary and we cannot live without it. I mean, all we really need to survive is water, air, food, shelter and perhaps, as The Beatles sang, love. For all its’ positives, technology is an addiction and can be used to do wrong and cause harm.

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Charlie Brooker’s sublime anthology series Black Mirror is now in its 4th Season (2nd on Netflix). It taps into the fear factor technology brings and presents nightmare scenarios that more often than not possess a prescient twist. Who can forget the very first episode of BM which had Rory Kinnear’s Prime Minister having to fuck a pig as a means to pay a hostage ransom?  The subsequent tabloid news that our then former Prime Minister David Cameron had, allegedly, stuck his member in a pig’s mouth suddenly made BM incredibly prophetic. This season is another televisual triumph with an incredible array of acting, directing and production talent with each episode offering the feel and scope of a cinema release. I’ll be honest being a massive Charlie Brooker fan I would probably enjoy a video of him dancing in a tutu whilst juggling tomatoes; however, I can confirm these six episodes were beyond brilliant too.

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Within the fabric of each episode Brooker holds a mirror up to the future and invariably it will come back black. However, the touching love story of San Junipero (from Season 3) offered some light in the BM universe and similarly Hang the DJ (officially 3rd in the Season 4 list) contained a wonderful love story at its’ heart with Georgina Campbell and Joe Cole giving humorous and touching performances. It also contains a Truman Show (1998) style ending and a twist that I thought was absolutely fantastic. Indeed, what appears to reflect the dystopic controlling techno-world of romance apps becomes something entirely real and beautiful by the end.

While Hang the DJ offers hope, the remainder of the episodes are bittersweet, brutal and unforgiving in their rendering. Actually, I suppose the Star Trek pastiche USS Callister has a kind of optimistic ending and is bloody funny in its affectionate satire of Trek archetypes and monsters. However, Jesse Plemons downtrodden Silicon Valley programmer holds a dark secret during his immersive Virtual Reality gaming experiences. Full of Star Trek references and themes, the clever script merges ideas relating to gaming and DNA technology with fantastic sci-fi meta-textual moments.

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Arkangel also has an element of brain implanted software which enables a neurotic mother (Rosemarie DeWitt) to track and view her daughter’s every move on a computer screen. Despite the revolutionary software used this story is based wholly in familial reality as the relationship between mother and daughter becomes strained as she enters her rebellious teenage years. The danger of “helicopter” or overbearing parenting becomes too apparent in satisfying soap operatic story.

Brooker relates many of his scripts in genre territory so the more outlandish or fantastic ideas are grounded with an identifiable cultural identity. The horrific murder plot of Crocodile unfolds in true Hitchockian fashion as an insurance adjuster tracks down the details relating to a vehicle accident but tragically stumbles on something altogether more deadly. The ending of this story is particularly far-fetched, as Andrea Riseborough’s architect gets deeper and deeper in the mire, however, Brooker must be praised for taking risks with his twists.

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Rather simpler is the pursuit thriller Metalhead, presented in crisp black and white, as a woman (the brilliant Maxine Peake) attempts to survive in a dangerous land full of robotic guard-dogs. It’s mainly a tense one-hander and the future never looked so drained of hope and colour. The final episode Black Museum was even more grisly as Douglas Hodge shows Letitia Wright’s tourist around his grim parade of exhibits. Brooker’s writing is as strong as ever and the horrors of the entwining anthology stories are shocking and powerful. It’s a dark, dark episode which contains the fantastic idea of uploading one’s digital soul into a loved one’s to share their consciousness. This plays out with both horror and humour in a compelling end to the season.

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Being a total Charlie Brooker and Black Mirror fan; a big lover anthology stories; plus a fanatic of horror and tales with a twist it’s obvious to say I loved this seasons offerings. They are clever, dark, funny, sickening, silly, romantic, scary, twisted stories full of satire and warnings about the dangers of technological progress. Ultimately, though it is not science or computers or mechanics which are the danger; but rather humans use and abuse of said technology. Because, for all our ingenuity and invention we more often than not use machines negatively and Black Mirror reflects that (im)perfectly.

Mark: 10 out of 11

“OH, JEEZ!” SOUTH PARK: SEASON 21 (2017) – TV REVIEW

SOUTH PARK: SEASON 21 (2017) – TV REVIEW

Directed by:                             Trey Parker
Produced by:                           South Park Studios
Written by:                               Trey Parker
No. of episodes:                     10
Release Date:                          September 13 – December 6, 2017
UK Release:                              Comedy Central

**CONTAINS MILD SPOILERS**

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In this stinking cesspool of a world run by greedy corporations, bringers-of-war and crazed megalomaniacs it’s important one finds some solace with which to hide from the slings and arrows of this venal society. Indeed, one has to keep an eye out from the barricades and parapets, holding out a shield to deflect, and mirror to reflect, the emotional barbs of every day existence. One such means of deflection is to laugh at the world and its leaders, gods, physicians, media outlets and political snake-oil salesmen, who twist and dance and continually sell us bullshit on a daily basis.

Television is a valuable tool with which to cocoon one’s heart and mind against the stream of negativity and injustice brought down up on us within the oppressive capitalist system. It gives us a chance to laugh and cry at the world through comedy and drama. One such longstanding shield against the tide of money and war is the always-relevant South Park. For twenty-one seasons it has now poked, prodded, electrified, boiled and defecated on the sacred cows of civilisation such as: religious figures, moronic yet dangerous politicians, gluttonous fats cats, media whores and narcissistic plastic celebrities.

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After the incredible satirical and narrative success of Season 19 (review here), where showrunner Trey Parker committed to a superlative serialization structure the bar was raised very high. Thus, Season 20 (review here), suffered in comparison as it over-egged the pudding somewhat with a convoluted multi-stranded plot dominated by internet cyber-trolling. Nonetheless, South Park, even firing at three-quarter’ capacity is funnier, on-point, and more scathing than any show out there.

As South Park is a phenomenal staple of my televisual calendar I was very happy when: Cartman, Stan, Randy, Cartman’s mum, Wendy, Butters, PC Principal, Kyle, President Garrison et al were back in Season 21 with satire of the highest order! Moreover, gone was the complex interlinking plots and in this run we experienced some wonderful stand-alone episodes which ran a zeitgeist hyper-link to many of the cultural, political and social events of 2017.

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The one thematic web which was woven through the ten shows was Cartman’s dysfunctional and destructive relationship with his girlfriend Heidi. This narrative found Heidi actually becoming a female Cartman much to the other kids’ horror. Here, the writing mined some familiar, almost soap-operatic, but mature story lines to much satisfaction overall; especially in episode 7, Doubling Down, and episode 8, Moss Piglets.

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Season 21 was, in keeping with the previous 20 seasons, crammed to the brim with references to media and socio-political culture, while also being fucking hilarious. The opening episode White People Renovating Houses poked humour at the latest Alexa culture and the hailstorm of “flipping” property shows. While Randy, the hare-brained addict, became obsessed with genetically re-correcting his heritage in the hilarious 3rd episode: Holiday Special.  

Of course the kids took centre stage in many of the shows, notably Franchise Prequel, where their superhero alter egos – scurrilously led by Cartman’s ‘Coon’ – attempt to get their own Netflix and movie franchise off the ground to rival Marvel and DC. Mark Zuckerberg makes an appearance as a goofy, geeky Scott Pilgrim-type-video-game-end-boss too. Here the seeming bottomless pit of money that is called Netflix is also amusingly slated; mainly due to apparently green-lighting any project irrespective of its’ quality.

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Trey Parker and his team took many swipes at the egregious political and, arguably hysterical social media “movements”. In episode 6, Sons of Witches the Harvey Weinstein “situation” was skewed, with all parties involved: men, women and social media keyboard warriors critiqued with much humour. Of course, based on the evidence presented in the media, Weinstein is a stain on humanity, a sexual animal exploiting his powerful position and money-balls! But Sons of Witches was keen to point out that while many men are dicks, they are not ALL bad witches so perhaps some calm and perspective is also required.

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While the final two episodes Super Hard PCness and Splatty Tomato ended with President Garrison gone into hiding due to the bombing of Canada, the episodes also had some fine gags on recent horror adaptations It (2017) and Stranger Things (2017). But my favourite episodes of the series were Put It Down, which put the boot into that moron in the White House and his inexplicably dumb twitter feed that spews out an inordinate amount of bile and idiocy. Finally, episode 5, Hummels & Heroin, brilliantly satirised prison movies by transplanting the genre tropes to an old people’s home; advocating ire for pharmaceutical companies pushing drugs on old people and damning poor medical practices.

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What makes South Park great and still valid is it does not takes sides. The liberal left and fascistic right are all shown to be, in certain circumstances, controlling and hysterical. Trey Parker and his team do not respect authority or celebrity or media fads or political correctness or social bandwagons; so long may their intelligent, crass, scurrilous, scatological, offensive, all-singing, all dancing satire continue! With Trump  in the White House some may say satire is dead but we need the South Park team alive to protect us from this slew of never-ending societal insanity and above all else: MAKE US LAUGH!

(Mark: 9.5 out of 11)

 

 

 

 

 

FLATMATES (2018): A SHORT HORROR FILM PRODUCTION UPDATE #2

FLATMATES (2018): A SHORT HORROR FILM PRODUCTION UPDATE #2

Just a quick update on my short film production FLATMATES (2018), which has now entered the the final stages of post-production with editor Gary O’Brien.

I have a teaser POSTER:

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And a TRAILER online for viewing too:

I will be entering the films for screenings and festivals throughout the year and will release it online in the next few months once the editing is done. Cheers for reading.

THE KILLING OF A SACRED DEER – LONDON FILM FESTIVAL 2017 – REVIEW

THE KILLING OF A SACRED DEER – LFF 2017 – REVIEW

I started writing film reviews a few years ago and the main reason was because I wanted to try and understand why I liked or disliked a film. I also wanted to improve my creative writing by understanding the thought process of others.  Living filmmakers whose work I have consistently enjoyed, save for the odd one here or there, are: Martin Scorsese, Quentin Tarantino, The Coen Brothers, Lynn Ramsay, Jonathan Glazer, Woody Allen (even some of the later ones), Park Chan Wook, David Fincher, Edgar Wright, Jacques Audiard, Darren Aronofsky, Kathryn Bigelow; and many others no doubt!

Such directors capture the quintessence of what cinema is for me. Not simply just in style and form but also powerful themes, imaginative concepts and sheer bloody entertainment. Filmmakers, of late, you can add to that list are: Denis Villeneuve, S. Craig ZAHLER and Greek filmmaker Yorgos Lanthimos. I have now seen three of his films, namely: Dogtooth (2009), The Lobster (2015) and his next release The Killing of a Sacred Deer (2017), and they all defy conventional film conventions to deliver absurd, surreal, funny, dark, thought-provoking and imaginative visions of human nature. Also, let’s not forget the writer too; so kudos to his writing partner Efthymis Filippou, who combines with Lanthimos to create such memorable cinematic offerings.

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The story itself begins in a reasonably conventional fashion. Colin Farrell’s successful surgeon, Steven Murphy, is happily married to his wife, Anna, portrayed with glacial precision by Nicole Kidman. They have two healthy and intelligent children, a boy and a girl, and their lives are a picture of upper middle class contentment. Steven and Anna’s family equilibrium is skewed when a teenage boy, Martin, brilliantly portrayed by Barry Keoghan, inveigles his way into their lives through a combination of innocent charm and surreptitious pathos. Martin is a dark angel representative of the cloud of sickness and guilt and remorse and his actions force Steven and Anna to have to face up to a parents’ worst nightmares.

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Lanthimos and Filippou, in Godardian fashion, constantly calls attention to cinema form; especially with a strangely effective form of anti-acting where, Farrell notably, dryly delivers dialogue as unconnected non-sequiturs. The words also constantly surprise us as the characters speak at each other with phrases that create humour and emotional disassociation. Nonetheless, such artifice only adds to the off-centre and sinister nature of the piece. The film is also beautifully shot with a wonderful symmetry to the composition of many shots. I also liked the choice of wide-angle lenses and the flowing Steadicam shots. Many were pitched at just over head-height, and provided an eerie floating sensation throughout the drama.

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Colin Farrell (as he did in The Lobster (2015), Nicole Kidman and the rest of the cast buy completely into Lanthimos and Filippou’s striking vision which takes its’ influence from l Greek tragedy. But while Farrell excels in another praiseworthy under-stated deadpan performance, Barry Keoghan steals the show. The young actor follows up his impactful supporting appearance in Dunkirk (2017), with a compelling character study and eerily mature portrayal. Overall, this is a gripping, absurd thriller-turned-horror film which constantly wrong-footed me with its plot turns. It is a truly chilling, yet darkly comical and surreal genre film that manages to be somehow extremely accessible too.

(Mark: 9 out of 11)