“I remember everything.”
crybaby, film enthusiast, paul dano’s oscar campaign manager
Despite some shining moments, namely in the first and second acts, Candyman finds itself in the category of films centered around social commentary that try too hard to make it palatable for mainstream audiences, and ends up beating you over the head with allegories and analogies.
I understand trying to make a film unique, especially when it’s a remake and/or based off other source material, but the added elements to this film hurt it more than it helped. It felt confused an unfinished at times, and although there were some memorable visuals, I was left disappointed by the end.
“Don’t tell mama.”
I am just in complete shock at how masterfully Sharp Objects was crafted. The ACTING, the direction, the soundtrack, the pacing, the foreshadowing, the tension-building - every detail had so much attention paid to it. It was terrifying but I couldn’t once look away. It had one of the best endings to ever grace television. It was perfect.
I’m...genuinely at a loss for words. After the credits rolled and I stood up from my seat, I almost had to sit back down again; my legs were shaking and threatening to give out under my weight, and my vision was blurred because of the tears filling my eyes. Ari Aster takes his eager audience fresh off the hype of Hereditary, and throws them into a dizzying and insane trip.
A darkly comedic break-up film for the ages, with a heartbreaking, powerhouse performance from Florence Pugh. Midsommar is horrifying and deeply, deeply disturbing, but the overall sense of satisfaction I feel has left me giddy.