A quiet, professional killer, Hyun-jun, arrives at a house to kill a man in his sleep, only to discover a woman alone under the sheets. Jin-young has decided to kill herself after a traumatic break up with her lover of seven years, but she wants to go out with a bang, not with a miserable and lonely dose of commonplace sleeping pills. The most extraordinary love story begins.
"THANK YOU, Zach Creggar!" Back in 2022, this now established star in the horror film genre gave us the quirkily creepy, unexpectedly funny (at times!) cinematic gem that was "Barbarian". It felt like a cool breeze just washed over us as, for ONCE, the much traversed roads these films tend to go with got an upgrade of uniqueness without sacrificing the ambiance of uneasiness you desire.
'An American Werewolf in London' possesses a possible queer reading in the way it envisions a heterosexual romance being undone by the presence of a creature who embodies self-contentment in the face of social alienation.
John Fawcett’s "Ginger Snaps" intertwines the lore of the werewolf to the hellish experience of a young girl going through puberty.
Remakes. Reboots. Reinventions. Redundancy. It's the common practice in Hollywood of late, sometimes offering us victorious reimagining of what can be considered cinematic classics while also, more often, falling flat on their UN-imaginative faces in utter defeat and lackluster results. Admittedly, with this in mind, I went into the newest incarnation of "The War of the Roses" with typical trepidation and cautious optimism.
Disney has cleverly managed to dance around the misdeeds of their past by scraping by with an insincere action that does very little to incite any long-lasting positive changes.
A quiet film that does not demand your tears but earns them. It explores love that lingers, timing that fails, and the silence between what was and what could have been.
