Films take me out of myself.
Ones I've marked "like" are films in my collection. I like many others.
Among the last big budget genre films unmarred by weightless CGI. Fine production design, costumes, makeup, and in-camera effects work. Perhaps unnecessary but welcome heaving bosoms. Reportedly fairly true to the source material.
But there's enough unmotivated melodrama and flat characters here to deter me from reading Stoker's original. Oldman's Dracula seems afflicted with multiple personality disorder. It's possible I only appreciate the early predatory animal vampires, the exploitation era sex pest vampires, or ruminative post Anne Rice vampires. This throws all of those at the screen, and little stuck with me.
Should appeal to anyone who enjoys Black Mirror, wondering what a feature length hard-R episode might look like. Ostensibly a film about identity, but ultimately about acting, with Riseborough's Vos improvising the role of Abbott's Colin.
My first viewing, and I think this film may benefit from more. I'm not sure I caught the nuances in how much of Vos or Colin were present in each scene, as there's so few scenes establishing their baseline. Between more objective scenes (with…
Harrowing and admirably crafted.
I really think this approach of claustrophobically focusing on the protagonist's experience would work well in other genres. There are some similarly harrowing events in military history (first day of the Battle of Somme, 1916, 1842 retreat from Kabul) that could be filmed with modest budgets by this technique.
Close Encounters of the Grubby Kind.
As in Primer, the director provides us with a fairly complete scenario, but understands a puzzle's delight is commensurate with the exertions the solution requires. With negligible exposition, Carruth expects his audience to swim. It is a bizarre scenario, though, and the film rests on two performances that walk a tightrope to avoid the bathetic and suspend disbelief. It was filmed on far less than the catering budget of other films, but mostly hides…