Location: a lonely house, crowded with everyday things and one man. Objects live their lives; they rejoice harmlessly, they love, they suffer, but above all they enjoy their own liberation from the chains of objectivity, from the restraint of functionality. They childishly surrender to the frenzy of action, to the motion of movement. New beings, mutants of civilization. Objects seen differently.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
"Black Widow" has strong female characters but sidelines its title character and serves as a launchpad for her successor, Florence Pugh's Yelena.
“Candyman ain't a 'he.’ Candyman is the whole damn hive." Candyman represents all Black victims of white supremacy, and this art form narratively conveys it in a succinct, adulatory way, the history of which is rare to find.
He’s a nine-time Oscar host and a revered comedy legend. He’s an up-and-coming comedy star who was a voice in the biggest animated movie of all time. So what happens when these two are forced to work together?
