A while back, I talked about my 13 Rules Of Horror. Less of a while back, I also talked about what I called Victim Zero. I also recently delved into Roger Ebert’s shrewd and funny Bigger Little Movie Glossary. All of this led me to start keeping track of my own brand of movie terminology. Continue Reading
I never intended to jump on the Get Out bandwagon. For one thing, I don’t typically review new releases. Second, when it came out, the immediate and overwhelming praise also made me leery. Call me a contrarian, but I have a long history of being disappointed by movies that met with widespread acclaim.
The Strangers and The Blair Witch Project leap to mind.
True, when I first saw the preview back in October, I couldn’t wait. But I also know I’m a total sucker for previews. Still, if David Edelstein can get on NPR and say, “Get Out really is Guess Who’s Coming To Dinner meets The Stepford Wives,” well, I’m all in.
Still, I’ve heard a lot of that. Jordan Peele acknowledges as much. One connection I haven’t seen mentioned is George S. Schuyler’s Harlem Renaissance novel, Black No More. Continue Reading
And we’re back after a brief respite for the goings-on at PoetCon last week. And where better to pick things up than The Naro?
If you can’t find me in the Cult section, the next place to look would be Foreign Horror. That’s where I found Fabrice Du Welz’s Calvaire.
I don’t even know where to start. Just to give you the vaguest frame of reference if you haven’t seen it, imagine fusing the backwoods elements of Deliverance, a little Hitchcock, a little Almodóvar, and Eraserhead.
I’m not kidding.
It’s not an easy film to watch. It shouldn’t be.
The English title, after all, is The Ordeal. But that’s not the only meaning. It also refers directly to Calvary, and there is more than enough unnerving religious imagery to warrant this connection.