The Life and Times of Frida Kahlo (2005)

An attempt to capture nostalgia that unfortunately just doesn’t work

Omaha reminds us of what it can feel like to look at old family photographs.  You sit with the bittersweetness, allowing it to wash over you; not drowning in it, but certainly affected by it. 

If you mix religious rituals with dark mythology, the result will be effective, and the story powerful in 90% of the cases. That is exactly what happens at the beginning of The Vigil.

These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.

That feeling in your gut which tells you that there’s something out there you should look for and make your own, is what the power represents