Slow, quiet and melancholy, this irish-finnish film explores the hardships of being a single mother using the changeling legend as an illustrative framework. An A24 production guarantees a lack of jump-scares or easy frights, instead focusing on a slow building suspense and dread with a gorgeous backdrop. Seana Kerslake wonderfully plays the mother, living isolated in the Irish countryside without aid and slowly beginning to doubt the nature of her own child and sanity. This actress is capable of conveying a wealth of information in little physical mannerisms and expressions, augmenting a dialogue lean script and aided by some genuinely good direction for the director’s first film. The metaphors are thick, as the child begins to shift and change before her eyes into something alien and disquieting exacerbated by the solitude and hints of a dark threat from the titular hole in the ground. Attempts to raise concern and alarm only serve to raise suspicion about her competence, thus entrenching her isolation and the pervasive feeling of helpless dread as events begin escalating. The film doesn’t present anything new in terms of storytelling, in fact another recent film The Hollow covers much of the same ground, but there is is a patience and restraint to how the film proceeds that serves to render each scare and horrific visual highly impactful. There is plenty of rehashing of tired tropes and what explanations arrive are often delivered by exposition dump (rather jarring as the script’s dialogue is measured and often minimal), but the film still manages to be extremely effective. The setting is gorgeous, but too much color desaturation is used resulting in washed out visuals with a palette of shades of greys and blues. However, the majority of the film’s flaws are forgivable as the movie is gorgeous, creepy and well acted (save for some of the child’s scenes, but still decent considering his youth), hopefully something the director can build upon as the start as a promising filmography.
Two Sentence Horror Stories (CW)
Inspired by reddit seems to be the new goto for ideas and exploitable horror. This is the CW’s attempt to cash in on the trend, to bland and predictable effect. Everyone is young and pretty and the script self-congratulatory and smug. While few of these tales are downright horrid, none are great. The ‘two sentence tales’ supposedly inspiring each segment (used as intro and outro) barely seem to align with each story and indeed demonstrate superior writing than the garbage that follows. The production is pretty but shallow, pretty much the CW mission statement. Go read the reddit and forget this ever existed.
D
GHOUL (Netflix)
This is an extremely polished indian miniseries making sharp commentary about faith, loyalty, corruption, indoctrination and regimes. Taking place in a near-future dystopian scenario amidst a cultural purge, there are intelligent undercurrents and pointed statements made beneath the core of a body-jumping threat. The first episode creeks from setup but is still remarkably effective at building a high level of suspense and anticipation. Using a closed and claustrophobic setting riddled with its own terrors opens the series with an already racheted tension level, and as further human and supernatural elements are introduced the setup gets quite terrifying. Once the second episode begins the action kicks into high gear and never relents to its satisfying conclusion. The acting, production values, and direction are all top quality with interesting writing adding an overcoat of arab folklore to an otherwise B movie monster plot. In particular, Radhika Apte delivers a phenomenal performance across the emotional spectrum, initially stoic but with depths of anguish, confusion and conflict hovering beneath the surface. The horror scenes are intense and tension riddled, using gore sparingly but to high impact. Unfortunately many of the scenes in the final episode are filmed far too dark under flickering light sources so the action can get confusing. Despite these flaws, Ghoul provides a genuine thrill ride of terrors up to and including its closing frame.
B+
Satanic Panic
This could easily be a counterpart to Ready Or Not, with a snarky satanic satire on the affluent, albeit with a far stricter budget. This is obviously made by a genre fan who lovingly evokes a feeling of being an 80-90’s throwback with a muted palette, synth soundtrack and a video-store feel. Homages to the influences for this film are peppered throughout the production, and there are genuine moments of fun. Kills are played more for laughs than truly horrific, but there are moments of graphic violence and high tension strewn throughout the production. The acting is pretty excellent, with the lead cultists camping it up as befitting the production, and the besieged lead bringing a pretty outstanding performance that holds this movie together. Unfortunately, editing and tone is often choppy and distracting with some severe emotional whiplash in certain places. The ending is going to be what divides opinions as to whether this is a worthwhile entertaining film or a waste of time and energy with little middle ground to offer. On the whole however, this is a fun and loving throwback with some unsubtle satire and genuinely good performances that make up for some of the cringier moments in script and editing.
C+
The Lighthouse
How does one give an impression of a film designed by its very nature to defy logic and sanity? Time, sense, reason, cohesion... all of these things break down magnificently in the face of ongoing isolation and madness. This is an experimental arthouse film made unashamedly for niche audiences, those who can withstand methodical pacing, ambiguous nonlinear structure, layers of subtext symbolism and who can be satisfied with questions left unanswered. (Pretty much studio A24’s entire demographic.) Shot entirely in 35mm black and white at a 1.19:1 aspect ratio everything looks literally like it was shot a century ago, but supremely polished, methodically crafted and with not a solitary frame overlooked. This is, without hyperbole: masterclass filmmaking by an auteur allowed to actualize a vision without compromise, resulting in a film that may baffle, perplex and certainly alienate audiences but will inevitably linger in the mind far past closing credits. Each scene is infused with a nebulous feeling of bleakness and disquiet, impossible to define but permeating every frame and line of dialogue. The centerpiece being absolutely tour de force performances from both Willem Defoe and Robert Pattinson, who carry this film past expectation into surprising levels of hilarity, darkness and depth. Their chemistry and interaction is worth the price of admission alone, phenomenal actors who elevate an already fascinating film to exceptional. While definitively a horror film, it is nigh impossible to describe entirely why. Be it the descent into madness, hallucinatory nightmare sequences, disquieting dialogue or pervasive unease... Much of this film defies description or easy explanations. This is definitively not a film for everyone, but for those who enjoy a challenge, this is a glorious vision of madness and omnipresent dread wrapped in high levels of mythological subtext and exceptional performances unmatched by anything remotely on the horizon.
A+
You
This feels like a more focused but less prolific version of Dexter, where we follow a disturbingly meticulous stalker over the course of a singular obsession. This series skews more comedy than horror, but horrific elements are never far from the forefront. While light on gore, and certain elements and sequences stretch credulity, there’s a plausibility and relatability to the portrayal of the horrific elements that justify the viewing for genre aficionados. The show-runners do an admirable job with the appalling nature of the premise, delivering cautionary notes atop gripping moments and demonstrating how horrifically easy it is for Joe to achieve his objective. Certain sequences will leave the viewer confused as to whether they should be rooting for Joe’s antics or hoping to see him caught and committed, especially in the later episodes where things get exponentially darker. We are fully informed of Joe’s backstory and how he developed into the creature he is, both garnering tragic sympathy but solidifying suspected levels of Joe’s psychosis. Where the show becomes immensely bingeable is in the darkly hilarious writing and sendup of rom-com tropes and modern social media lifestyles. Privy to Joe’s inner monologue, we understand how he paints himself as the hero of his own story while justifying increasingly despicable action. There is a nice build and escalation to the season and events that transpire, as minor elements from earlier episodes begin to rebound and the cracks in Joe’s facade begin to show. The last episodes go utterly dark, sacrificing most of the humorous elements, but remaining utterly riveting from start to finish. Immensely charismatic leads coupled with the sharp script and hilarious satire on modern society make the entire exercise a hilariously depraved pleasure that holds up under multiple viewings. The ending nicely ties up most of the lingering threads for the season while even opening the possibility for a second season which would be entirely welcome, provided Joe doesn’t suddenly decide to embrace a calling as a lumberjack.
A
Velvet Buzzsaw
A great cast elevates a sub-standard satire on the art industry, which has a number of fun moments but is ultimately bland. Everything within is nicely done: sound direction, amusing script, great actors, and hilariously fantastic direction, provided one appreciates a bit of camp on every level. Everything is cast with pretty people, garishly lit and the script is stuffed full of pretentious references and callbacks to the art world and ‘high society’, but with a tongue-in-cheek giddiness, as if the film understands how ridiculous it is being. This is certainly translated to the actors, who across the board turn in well acted cliched caricatures of the mercenary elite of high society. In particular Jake Gyllenhall is hilariously campy and having an absolute blast in his role: chewing the same scenery with veteran scene-chewers like Renee Russo, Malchovich and Toni Colette. Where things fail are with some of the humor, and on a meta level: like the art society critics and auteurs this movie pokes fun of, the film goes loud and exuberant when presenting a facade of being deeper than anything within actually is. Its not that clever, not that intelligent, and very ambitious, but shallow and forgettable.
C
Rabid
Certain filmmakers use the medium as a flimsy excuse to indulge their particular fetishistic fantasies and indulgences with the Soska sisters as prime examples. Several of theirs are on prominent display in this utterly unnecessary remake of David Croenberg’s 1977 film. The original premise from the film holds up decently, while the lead actress does a serviceable job, but there’s little else to appreciate here. The major beats from the original film are present, but in addition the Soskas layer atop satire on the fashion industry and ham-fisted aesops about the ‘price of fame’. Unfortunately, the acting is bad, the delivery poor, and the script borderline soporific. Nothing original, nothing noteworthy, nothing remotely memorable save for one particular scene of unintended hilarity and plenty of gore. There are excellent practical effects, effectively rendering grotesque and horrific visuals of face-ripping, biting, piercing carnage. There is a lot of ambition for the last act that is obviously not within the scope of a severely limited budget. There is something to be said for filmmakers that can actually deliver a decent looking (albeit gruesome) production on a minuscule budget, but as a remake of a greater work by a film maestro this title deserves far better.
D-
Wounds
It is unfortunate that the filmmakers chose to change the title from Nathan Ballingrud’s original novella The Visible Filth as otherwise this is an extremely accurate adaptation of the text. The original title informs the viewer quite a bit more on the themes and nature of the subject matter, although opening quotes from Heart of Darkness and repeated references to TS Elliot should close that gap. This is a film about superficially pretty people presenting a facade masking emptiness and pain. Somewhere in this gaping metaphysical emptiness, between the space of atoms and singularities, something can get in, taint and fester. It might take nothing more than a single image, text or phone call. The actors do a phenomenal job portraying resolutely unlikable characters who initially manage to avoid any form of judgment by virtue of charisma and charm. From the moment of a horrible inciting incident, the characters spiral downward into their own abyss, as masks break and oblivion begins overtaking their existence. This a difficult movie to watch on a number of levels, but it would be mistaken to view that as a flaw. It is often the goal of a filmmaker for a film to linger with a viewer, and this movie will succeed, but on skin-crawling levels. This movie is about toxicity and toxic people, the emptiness of unfulfillment and the moral degradation. Everything from the perspective of the characters is presented filthy and caked in grime, even in full daylight, a sense every scene exists in a layer of decay. Unfortunately, this movie spends far too much time reveling in atmospheric squalor after very effectively building a sense of unease and disquiet. The movie expects the viewer to simmer in the discomfort and disgust, but it becomes weary after a while. The last act feels very rushed, with a rather abrupt ending (although also accurate to the novel), and far more time could have been spent with the final reveal which may confuse and alienate even viewers paying attention. Regardless, this is a very effectively made adaptation, maintaining the themes and subtext while bolstered by some quality performances but on every level an examination of inner ugliness and filth.
B
Eerie
A derivative catholic school haunting film with a Pinoy overlay, the melding of cultural influences allowing for some nicely reskinned jump scares and tropes but not much else. The filmmaker’s focus is in creating and maintaining an ominous atmosphere, aided by a genuinely creep inspiring setting and wielding every cross-cultural cliche possible in order to hold the audience’s attention through a somewhat boring mystery. While there are some interesting aspects to the presentation, the core story is unengaging and in overcompensation the movie front-loads a veritable battalion of jumpscares and ghost tricks throughout the first half. To be fair, many of these are very well executed, with a nice buildup, genuinely terrifying images, and great atmosphere throughout the entire film. The cinematography and technical filmmaking in this film is quite excellent, with efficient use of desaturation and oversaturation techniques to augment beautiful locations. Underneath the surface, the movie tries to make significant statements about the poor treatment of mental illness and contemporary bullying but none of it is subtle or significant. The last act is a sequence of predictable plot twists with an ‘action’ sequence that comes off more hilarious than anything else. Ultimately this is a beautiful looking film that, like the ghosts themselves, is a revenant echo of better films.
C
Eli
This is like someone took the scripts for 6 different horror films combined them with a 90’s medical thriller and mixed them all together in a blender without a top. Ideas go flying around and rapid pace all over the screen and the resultant spectacle is admittedly quite fun to watch from afar. The closer one looks, the more of a mess you realize it truly is. There is a lot going on in this film, in fact it often feels overstuffed with its ambitious amalgam of scares, experiments, and creepy setup. While the first act has an excess of slow buildup, the second act consists of excellent scare sequences that escalate until the third act’s insane twists. None of it really makes sense for a goodly chunk of the runtime, but still manages to be engaging on basis of some remarkably good direction and intriguing moments. There are no shortage of flaws, mostly on the script level as its mystery elements are fairly worn tropes, and unfortunately the character of Eli himself is far from engaging with any initial sympathy for him rapidly exhausted. (To be fair, this film has a lot to ask of its title actor). The rest of the cast seem alternatively bemused and bored, but all give decent performances. Despite the flaws, the movie manages to keep one engaged through to the last twists. The movie goes absolutely gonzo in the last act, with an utterly bugshit explanation that defies prediction and is barely justifiable. But still, the outcome is absurdly entertaining and the last 15 minutes of sheer insanity are hilariously fun for genre enthusiasts. The more absurd it goes, the wider the grins will get and ultimately this is a surprisingly fun entry from Netflix, whose sheer insanity and ambition elevates it above the majority slog of their catalogue offerings.
B-
Sweetheart
A mostly one-woman show featuring Kiersey Clemmons, this movie initially skips backstory and setup to jump immediately into plot. Skewing explanation and spending the majority of the film dialogue free, the movie begins watching a woman named Jenn scavenging to live on an isolated island in the aftermath of some unrevealed accident. The focus is on Jenn adapting to her circumstances and environment, initially reliant upon wreckage and washed up luggage but through trial and error, gaining the skills to survive independently. A good thing, as each night a horrible aquatic monster emerges from the sea and hunts for her. These sequences are intense and gripping, reliant upon some brilliant sound design and nicely restrained direction that limits our perception of the creature to only what the protagonist experiences. This is doubly a boon, as that the creature works best shrouded in shadow and not fully revealed. Midway through the film, there’s a slight shift with the introduction of additional characters who unveil just enough tidbit of backstory to inform the narrative and to raise doubts about the protagonist’s mental state. But these elements seem like distraction, and the movie would likely be better served having shed them entirely. The battle between Jenn, the monster and the elements works on multiple levels and the final confrontation is very effective while brilliantly illustrating the evolution of Jenn’s character. The flaws are unfortunately with the creature itself, which upon full unveiling is rather underwhelming and even goofy looking. The director wisely restricts the creature to nighttime or underwater viewing, but the damage is done. There could also be work done in the makeup and wardrobe department as even battle-wounded and hardened, Jenn comes off looking like she’s lounging in a tropical paradise photoshoot. Regardless, this is a rather well done minimalist horror film that while streamlined and exposition free could still use more polish and trim some baggage.
B+
Marianne (Netflix)
Marianne is a welcome and unexpected horror treat from Netflix. This french series delivers unsettling visuals, high tension and nicely executed terrors all through its eight episodes. Slickly produced and effectively executed, the series feels like a love letter to Stephen King, aping setting, storylines, characters and themes yet creating its own unique amalgam of these influences. There’s a diverse range of scares employed, from cringe-worthy physical torments to slow creeping dread and existential nightmare, with a gripping level of tension accompanying each. There are some terrifying concepts at play, with some of the creepiest visuals and sound design 2019 has to offer. Special note is actress Mireille Herbstmeyer who singularly provides the series most unsettling elements through sheer power of an effective performance. The imagery and the scares are raw and visceral, with methodical buildup towards each without an excess of jumps or cheap tricks. The first half of episodes are superior, as the back-half jettisons mystery and atmosphere in favor of exposition dump, origin stories and wacky exorcisms. Most of the episodes are tightly wound and paced but some of the urgency and tension seems to evaporate in the last few. There is likewise a tonal disparity in these later episodes, where the atmospherics and creepiness can take a backseat to comedic beats. However, everything still manages to work and hold up, despite losing some bite in later episodes, the story is solid and execution excellent. There is obvious setup for a second series, which if it can maintain the quality and scares will be a welcome treat around halloween next year. In the meantime, it is highly recommended that one watch this in French with subtitles rather that dubbed, as the quality improves significantly in its original tongue.
B+
US
This movie starts very strong and maintains good tension throughout the first two acts before exposition glut and commentary subsume the narrative. The sense of things being off-kilter and unsettling is established quickly to great effect, even prior to the visitation of mysterious unnerving doppelgängers. All the film's the performances across the board are exceptional, especially with the doppelgänger's nature demanding far more physical expression. There is more creepiness in the tilt of the head and a little girl’s smile than all the computer generated monstrosities unleashed this year. In these first two acts, there are horrific events unleashed often brilliantly offset with subversive comedy, the two blended seamlessly rather than detracting from either. US proves Peele is immensely talented behind the camera, and his use of color, framing and pacing are all gripping. The opening alone demonstrates how exquisitely Peele can establish and maintain atmosphere and tension, often feeling like its own funhouse ride. Peele is also a talented writer, but here this feels like both a boon and flaw. As Peele offers an origin and explanations to the events, the thrill fades in the face of dense allegorical commentary and confusing contemplation. Answers are entertaining and chock full of metaphor and meaning (YMMV), but diminish the terror and intensity of the horrors in favor of a more existential unease. The harder the movie engages on an intellectual level, major flaws in the story become apparent and things start to break down, even as the film is celebrating its own cleverness. The major twist can be predicted quite early, and the movie seems to be striving towards a major impactful image that comes off more ridiculous than terrifying. It feels the last act could have been jettisoned entirely in order to provide a far more streamlined and effective film. Unfortunately, this feels like 2/3rd a great horror film and the remainder a disjointed and distracting mess.
C
IT: Chapter Two
Despite a phenomenal cast and a brutal opening, the second chapter is a disappointing bloated regurgitation of bad jump scares and wretched computer monstrosities. What good is great: the production values, sets and acting is all top-shelf, with a shout-out to the inspired casting director choosing adult and child counterparts. What’s bad is most else, despite a shiny luster and great camerawork. There are utterly frustrating moments where the filmmakers do a phenomenal job at building a sense of unease and tension, and then squander it in the most egregious fashion possible. An example: after setting slow building disquiet and creepiness then a bug-eyed computer generated grotesque comes running in to accompaniment of obnoxious sound cues and gibbering “BOOs!”. Another scene’s similar tension was shattered by the sudden inclusion of a country pop ballad amongst gut-churning visuals, the resultant effect coming off more comedically horrible than horrific. The studio spent a ludicrous amount of money to render creatures that look little better than garish cartoons and abandons any of the patience that made the first film’s scares far more effective. Only one sequence really delivers, a result of otherwise absent restraint, great direction and an unnerving performance by Bill Skarsgård. The script is all over the place, with far more comedy than expected that is often tonally disjointed and distracting. Despite an excessive running time it is inevitable that characters get shafted story-wise, sub-plots are abandoned, and background tidbits are thrown out randomly without follow-through. The writers attempt to expand upon the mythology and for the most part adhere closely to the novel, also makes a pretense of being profound and clever when it is glaringly anything but. Sappy lessons about the magic power of friendship and a ham-fisted arguably tone-deaf coda feel unearned and make me far more nostalgic about bad stop-motion spiders. Spoiler warning: They do lampshade quite often the ending’s going to disappoint.
C-
Ready or Not
This is a hilarious, fun and savage take on a classic horror scenario, with a clan of depraved one-percenters playing the most dangerous game with a newlywed bride. In addition, we are provided a deftly skewering satire on entitlement, class resentment, familial bonds and traditional institutions in a glossy package of high production values, excellent cast and hilarious script. Samara Weaving rocks the hell out of the lead, bringing an immediate likability and charisma to the character of Grace while believably transitioning into hardened survivor. None of the satirical elements are particularly subtle, in fact there is nothing subtle in this movie whatsoever, which leaves a number of characters rather cartoonish, but works with the type of lunacy the film revels in. Everyone else appears like they're having a hell of a time relishing the extremes they are allowed to embody, from sympathetic to mustache-twirling villainy. There is a legitimate fun chemistry between the cast with absolutely hilarious banter and great timing with a script that even allows some touching moments. With a reasonable runtime of 90 minutes the script is tightly paced and taut, while still managing to develop the characters effectively. The tone skews primarily comedy, but tension and suspense built during the hunt is quite palpable. Mostly confined to a single mansion, the location is gorgeous and the lighting is exceptionally well done, adding soft candlelit hues in intimate hallways or flickering fluorescents for an abattoir: augmenting the tonality of every scene. The filmmakers are never afraid to go to some very dark places, with some genuinely jolting moments and effective gore. Grace makes a memorable heroine, effective and witty while withstanding tortuous mental, physical and emotional trials. Most of the ensemble deaths play to comedic effect and the film takes glee finding creative ways to mix horrors with hilarity, but Grace’s ordeals are handled with a more grounded seriousness. The ending might be divisive, but the twists and turns are early hinted and developed organically. Nothing particularly original, and at times bordering on absurd, but still an exceptionally fun horror-comedy romp that like its heroine is far more intelligent, witty and resourceful than suspected.
A
Aterrados (aka. Terrified 2017)
Aterrados opens intensely and never relents through to the closing frames. This Argentinian film is like a rollercoaster of haunts, melding myriad inspirations into a nice package of well delivered scares. The framework weaves converging paranormal investigations across a neighborhood, with isolated events slowly seeping together. Unique threads and original ideas are presented in this movie but sometimes sacrificing plausibility for spectacle. Explanations are flimsy and backstory nonexistent, but this movie is more interested in delivering fear than reason. Supernatural shenanigans is accepted as a given, and no time is wasted confronting them with both scientific and spiritual approaches. Each scare features excellent buildup and tension, delivering genuinely horrifying imagery and effective shocks. This isn’t a movie reliant on cheap tricks or jump scares but not to say they’re entirely absent. This movie wields an amalgam of effective terror tactics together in a barrage of grotesque imagery and nerve-wracking sequences. The film’s major drawback, aside from the lack of explanation or closure, is a bit of aimlessness in the second and third acts. While the creepy setpieces are excellent, the plot itself seems to lose cohesion and adopt an aura of confusion. While this mimics the strained psychological endurance of the protagonists, this can leave the viewer with little sense of what’s going on, save it’s high octane nightmare fuel.
B+
Escape Room
Another cash-in on the urban fad, superior to the earlier wretched entries and surprisingly entertaining for a rote studio entry. Despite flaws, this tight package of goofy thrills delivers more than its fair share of fun and never relents through to its closing frames. There’s an initially enjoyable mystery box element to proceedings as characters attempt to unravel creative deathtraps and uncover what connects the gathered participants. There is plenty of tension and great atmosphere throughout, but overall gore and scare free. The acting is all over the place, some earnestly serious while others gleefully camping it up, but everyone doing their best with stock characters who have one-note motivation and characterization. The writing is fairly clunky, but there’s a refreshing mix of humor that doesn’t detract from the overall tension. There’s plenty of predictability to the plot and order of demise, but the pacing flows briskly and direction is solid. The sets and rooms themselves look great, with a color palette more vibrant than most Blumhouse affairs and a distinct aesthetic for each of the various rooms. Production values are slick and past the incredulity that some of the traps inspire, the film mostly works. The movie stumbles a bit in the last act by offering explanations which are simultaneously grandiose and absurd with a lack of resolution begging for a sequel or franchise potential. On the whole an inoffensive and mostly forgettable popcorn flick that would probably best served combined as a drinking game.
C-
Assimilate
An attempt at Invasion of the Body Snatchers for the Youtube era, this movie might have benefited committing to the perspective of found footage. Instead we are given a low budgeted teenage clone on the body-snatchers premise that alternates between handheld and traditional filming to mixed effect. Unapologetically derivative, this movie can be entertaining though hamstrung by a low budget and inconsistent delivery. The acting ranges by performer, as the leads are actually pretty good, but members of the supporting cast are pretty wretched. There is no gore and few frights, but interesting aspects to the creature designs, even with poor and distracting CG. This film unfortunately takes the iconic imagery of Donald Sutherland’s alien screaming and reshashes the same image repeatedly with bad CG augmenting the supposed ‘scare’. Despite that, the direction is surprisingly good, whether in the youtube geared segments or overall, and there are only a few instances of first-person perspective where things get shaky. The pacing escalates nicely, but the film suffers a bit in the last act because of a ‘rescue’ plot that comes off more infuriating than noble. A fun, albeit predictable ending delivers nicely and even leaves space for the story to continue. Ultimately a well intended rehash on Body Snatchers intended exclusively for a younger crowd who hopefully haven’t seen the better iterations.
C-
The Perfection
This is a stunningly awful film that looks and presents gorgeously. Fantastic production values, excellent acting and initially intriguing characters set an interesting stage of high-society madness before the supposed ‘plot’ begins. Setup and framework lull the viewer into thinking they are watching a movie about a musical rivalry slowly escalating into violence and psychosis, then… everything shifts for the horrible. The core of this film relies upon motivation so outlandish, ridiculous and nigh offensive that it renders obvious production values into pretty detritus. Additionally agonizing, a majority of major plot beats are delivered in ham-fisted exposition dumps that try to trick the viewers into thinking anything makes sense. Nothing does. It is hard to imagine that someone read this script and had their eureka moment, instead we are treated to a meandering, absurdist and indulgent mess with admittedly phenomenal production values. And therein lies a problem: from grandiose to grotesque this movie presents amazingly. Visually, auditory, horrifically, and with all the actor commitment you could hope for, by sheer virtue of the presentation and gonzo script, this movie elevates itself better the worst and slightly above forgettable, but not far beyond either.