Following the death of her mother, terminally ill Aubrey tracks down her estranged father, Doug, an Irish-folk musician playing in a pub. After revealing the recent death of her mother, she convinces him to take her to scatter the ashes, offering him £200 for his time. After noticing a flyer for a music competition in Aberdeen, Doug spots an opportunity to make some money and agrees, relaying that the ashes be scattered in Cruden Bay, just outside of Aberdeen. As the two travel north to Scotland, Aubrey battles with her illness and Doug's stubborn behaviour, but the pair gradually find themselves becoming closer. This unravels when Aubrey finds the competition flyer, revealing the true reason for being in Aberdeenshire. A fierce argument breaks out and Aubrey storms down to the beach to scatter her mothers ashes alone. Doug follows her and stands looking on as the ashes are poured into the sea.
This story solidified my choices to consume a more plant-based diet and nearly made me cancel my subscriptions to big corporations like Amazon. The narrative was perfectly crafted and on par with Bong Joon-Ho’s other major works; Parasite and Snowpiercer.
The external threat invaded the domestic environment at the most valuable moment: grieving.
I believe in homages, but there's a proper way to borrow a creative idea instead of making it appear as if you hit the copy and paste button. Most likely, anyone is better off simply reading the books. Or just put on Scream.
Darren Aronofsky’s Caught Stealing is a gritty, darkly funny thrill ride through 1998 New York, with Austin Butler delivering a raw, magnetic turn as Hank Thompson—a washed-up ex-ballplayer turned bartender whose life implodes after cat-sitting for his punk neighbor drags him into a violent underworld of gangsters, crooked cops, and chaos. Brutal yet unexpectedly hilarious, the film blends noir grit with midnight-movie absurdity, proving Aronofsky can reinvent himself while Butler cements his status as a true movie star.
Hitchcock is no stranger to innuendo, as was common in that era, but there was something so sophisticated about his approach to 'Rope', and it starts in the first frame.
J Brooke, Incluvie Guest Columnist on 'Life and Beth' and 'Sort of': while living one’s truth is freedom, speaking it as a mandatory assignment can become captivity.
