Sandra Bullock & Channing Tatum Find Love in the Lost City At SXSW!

Sandra Bullock & Channing Tatum Find Love in the Lost City At SXSW!

The Lost City” isn’t an especially unique film; its premise draws on “Romancing the Stone” and countless other adventure movies. Its punchlines are recognizable from a distance as the volcano dominating the remote island where most of the story takes place. The movie’s initial sequence gives off a clear sense of the plot’s outcome.

Nevertheless, a great deal of comfort and enjoyment is derived from all of these countless experiences. Adam and Aaron Nee, directors, and co-writers, effectively and irresistibly tap into the profound emotions. These are feelings that only romantic comedies can provide. This is a film you see in movie theaters, with popcorn. Then on streaming, and once more with a glass of wine.

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The Lost City Plot Set To The Tune Of A Familar Recipe

Loretta Sage (Sandra Bullock) is a burnt-out writer whose grief after the passing away of her husband almost ended her career. Her contempt for her books is matched by their detestable title figure Alan (Channing Tatum). Tatum is known for shamelessly indulging her readers at book signings.

After an event promoting her latest book, Loretta is kidnapped by explorer/rich guy Abigail (Aaron) Fairfax. He is played by Daniel Radcliffe. Fairfax knows that the lost city from Loretta’s book is real. He desires Loretta to translate some ancient writing. Which ultimately will lead to a trapdoor and a treasure before a volcano erupts and ruins everything. Alan ventures into an ill-advised expedition to rescue her. He is determined to meet up with Loretta to win her approval. This is attributed thanks to his friend Jack (Brad Pitt), and her beleaguered editor Beth (Da’Vine Joy Randolph).

Channing Tatum Shows He Is More Than Just A Face

Loretta and Alan’s romantic encounter is inevitable, but “The Lost City” helps explore the chemistry between Bullock and Tatum’s characters. In particular, the movie highlights the emotional intelligence and unwavering support Alan. He may be the kind of man who calls Loretta a “human mummy,” not the brightest toy in the box. However, there’s more to him than what Loretta thinks. Like others, a hero similar to a beloved novel, Alan isn’t just handsome, but a truly kind-hearted guy.

Tatum is a terrific choice for this role on several levels. Not only does he look like he belongs on the cover of a novel. He’s also an actor who has displayed time and time again that he adores acting for laughs. Bullock is also happy to play into her onscreen character’s physical insecurity and subsequent shedding of her prickly condition — it isn’t really unfamiliar territory for her, either. Together, the pair share joy and a sense of affection that one can readily get caught up in.

The other members of the supporting cast, particularly Patti Harrison as Loretta’s hysterically self-involved social media manager. She is put in a bright, unusual component of humor to a script that otherwise handles it fairly by the numbers. (oddly, this is not a criticism, “The Lost City” works with an effective approach). The only part that doesn’t stand out in the script is Radcliffe, as he’s the character that tries the most to alter up standardized type characters. So, Radcliffe appears to be out of place in a story where everyone else feels at home in their archetypes.

“The Lost City” may be deemed fluff by some viewers, but it certainly does a lot of improbable things well. It is well-lit, both visually and atmospherically. It is a creative movie that is told in some style. This story, at its core, examines how folks engage with romance and vulnerability. It’s extremely successful in doing so, as it focuses on its own central relationship throughout the entirety of the plot. Visually, “The Lost City” is a stunning film that successfully achieves its central relationship on a visual level.

Be sure to check out the SXSW QnA At the world premiere

Michelle Yeoh Charms Human Nature In Everything Everywhere All At Once

Michelle Yeoh Charms Human Nature In Everything Everywhere All At Once

Everything Everywhere All At Once is a film that leaves you with an endless amount of emotions that leaves one wondering their place and purpose. Writer-Directors  Daniel Kwan and Daniel Scheinert are known as the Daniels. They have brought forth a particularly rare and valid vision to life. With films like Ready Player One and Doctor Strange in the Multiverse of Madness, the cinema has been moving in different directions. The Daniels will take you down Alice’s rabbit hole in Everything Everywhere All At Once. Tunneling through a spyglass of comedy, philosophy, the foundation of human emotions splashed with a dose of Kung-Fu. In other words, a complete tripped out mindfuck, with a heavy emphasis on tripped out.

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Michelle Yeoh As Evelyn Wang Honing Her Kung-Fu Skills

Michele Yeoh Brings Her Best Performance To Date As Evelyn

Michelle Yeoh, the protagonist of the film, performs an absolute love letter cinematic silver screen, as Evelyn Wang. Evelyn Wang, the proprietor of a laundromat facing an Internal Revenue Service audit. We meet her enjoying a happy moment with Waymond (Ke Huy Quan) and their daughter Joy (Stephanie Hsu).

We see their beaming faces reflected in the mirror on their living room wall. As the camera zooms through the mirror, Evelyn’s smile fades, now sitting at a desk awash with business receipts. She is preparing to handle a meeting with an IRS auditor. While trying to serve a Chinese food feast for their Chinese New Year celebration.

Gong Gong’s (James Hong, glorious as ever) lofty expectations of his daughter are very high. On top of the to-do list of taking care of her father’s visit and the tax audit.

Evelyn’s sullen daughter Joy wants to bring her friend Becky (Tallie Medel) to the party, and her husband wants to talk about the state of their marriage.

Evelyn Wang Discovers The Overwhelming Power Of Everything Everywhere All At Once

Just as Evelyn begins to feel overwhelmed by everything happening in her life. She’s visited by another version of Waymond from what he calls the Alpha verse. There, humans have learned how to reverse chronological time and are threatened by a monster depicted as Jobu Tupaki.

Evelyn is then thrown headlong into a multiverse adventure that forces her to question everything she thought she knew regarding her existence.

Everything from her failures, to her wishes for her family. Most of the action takes place at an IRS office in Simi Valley, California.

This is where Evelyn must battle IRS agent Diedre (Jamie Lee Curtis, having a ball), hordes of security guards, and everyone else she’s ever met.

Production designer Jason Kisvarday constructs an endless cubicle arrangement where everything from the editor’s blade to a butt plug-shaped auditor of the year award can become a catalyst of sorts in a struggle to save the universe. The original speed of the script was equaled without breaking the editor’s direction. All by simply expanding Evelyn’s inner journey while various layers of universes folded into each other. Anticipated cuts held the scenes together, while snap cuts played up the prominent aspects of the story’s comical foundation.

Defined both ways and not, each realm looks and acts in a unique way. Serving as a worldview analogue, the winking film irony relates from “The Matrix” to “The Fall” to “2001: A Space Odyssey” to “In The Mood For Love” to “Ratatouille.” Even the performer’s own legacy makes a cameo appearance in the film with the use of loving callbacks to her Hong Kong action film days and the wuxia classic “Crouching Tiger, Hidden Dragon.” Even Michelle Yeoh’s own legacy makes a cameo appearance in the film. With the use of loving callbacks to her Hong Kong action film days and the wuxia classic “Crouching Tiger, Hidden Dragon.

The fight sequences, choreographed by Andy and Brian Le, have a balletic beauty to them. They are well-executed from the perspective of cinematographer Larkin Seiple with much wide shot framing allowing the body to fill the frame.

Michelle Yeoh plays the lead role that showcases her distinctive talents Everything from her seasoned martial arts ability to her fantastically comic timing to her capability to delve into unfathomable cultural depths of reason simply from a look or a reaction. She is a movie star, and this is a film that recognizes it.

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Michelle Yeoh Charms Human Nature In Everything Everywhere All At Once 7

Ke Huy Quan Delivers As A Love Stricken Benefactor

Much like Evelyn utilizes Yeoh’s artwork, elements of Waymond can be found throughout Quan’s distinct career path. The comic timing from his childhood parts as Data in “The Goonies” and Short Round in “Indiana Jones and the Temple of Doom” echoes in the role.

His work as a fight coordinator is evident in the tight action of alpha-Fightstar. Who is able to take out a truckload of intruders with a fanny pack. Even his time as a production assistant, like for Wong Kar Wai’s “2046”, can be drawn from the universe in which he plays the role of the one who got away with a suave stance.

Quan utilizes his comedic talent to deliver a gentle reminder that an individual is a vital strength in kindness. Proving that nice guy may finish last but they will suffer through the pain for the greater good. A very relatable topic for me TBH.

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Stephanie Hsu As Joy. Evelyn’S Daughter.

Stephanie Hsu, Depicts Evelyns Daughter Joy As A Broken Soul

While Evelyn’s and Waymond’s apathy with each other flows through alternative realities, it is their daughter Joy who proves to be the villian. In a clear victory for actress Stephanie Hsu, Joy delivers a generational contrast. Joy is the lasting weight of Evelyn’s fractured bond with her grandfather and the frustration of an American dream unattained. The color of her individual sexuality was in stark contrast to that of her mother’s country when she first arrived there. The story of Eveyln’s struggle is worsened by everything that she did to give up more opportunities for a better life than what was concluded. Owing to these pressures, she manifests a state of great rebellion that threatened even the universe the consumption of everything bagels threatens to swallow up everyone and everything.

When remembering loved ones who have suffered from generational trauma. Daniels’s perspective is that the void can be reversed through the experience of absolute love that is transmitted from one generation to the next. Only if we make sure to focus on love and tolerance rather than condemnation and rejection.

Life isn’t always a series of rational moments; it’s a series of fleeting, priceless, and magical moments. Sometimes they appear one by one and sometimes they are Everything Everywhere All At Once. This film is about choosing love no matter what. Even at the fate of the multiverse. It frequently visits the notion of how easy it is in life to let the past shape our future. Yielding two perspectives, one being “nothing really matters” and “nothing else matters”. It is a poem of our existence and presence, and the complete contrast of it. It often reminded me of the rabbit hole of an ego-death LSD trip into our purpose in life. I do believe I discovered my new favorite movie. The Daniels, Michelle Yeoh, Ke Huy Quan, and the icon Jamie Lee Curtis truly came together to make this masterpiece. Everything Everywhere All At Once Don’t be surprised to see it nominated for a variety of awards in the future.

Coming 2 America Lives Up To The Original, Does It Hold Weight?

Coming 2 America Lives Up To The Original, Does It Hold Weight?

The king has returned! Eddie Murphy is back to see in on his 1988 invention Akeem, the now-ruler of the fictional African country of Zamunda. As established in Coming to America, Zamunda is both a lavish and antiquated locale: not tons of TVs, multitudes of rituals and ceremonies, beautiful interior design that might make a true estate mogul blush, all affectionately anachronistic.

So. Technically this is able to be Coming to Zamunda, no?

Akeem’s content together with his three daughters and his loving queen Lisa (Shari Headley) by his side. Yet for the sake of kick-starting a sequel, he needs a male heir to avoid war with General Izzi (Wesley Snipes), leader of Nextdoria (you come up with a far better fake name). And because it with great care happens, Akeem hooked up a lady named Mary (Leslie Jones) within the ‘80s, and unknown to Akeem, Mary raised his son Lavelle (Jermaine Fowler) in NY.

This is where the premise pulls a 180: Akeem’s done America already. He came, he saw, he worked at McDowell’s. Instead, the sequel has Akeem learning his long-lost son to groom him and introduce him to Zamunda altogether its quirk and fervor. Lavelle is now the fish out of water learning the closed corporation, like pulling lion whiskers and washing of royal genitals. In other words, whereas the first film may be a comedy of exploration, this is often one among reclamation.

Is This Just Another Murphy Sequel?

Murphy’s no stranger to sequels. Regrettably lesser sequels, to be frank. The Beverly Hills Cops after 1984, Doctor Dolittle 2, the rear half of the Shrek franchise, and yes, the Klumps. When asking “why now?” of Coming 2 America, the apparent answer was always getting to be Murphy’s continued marketability. Also, Coming to America is either a cult classic or outright masterpiece, counting on whom you ask.

What Coming 2 America lacks within the original’s naughty deadpan (and R-rated surrealism), it makes up for with vibes of a raucous family party. But this show takes a second. Actually, about 20 minutes of rushing to line up the who and why. There are abrupt name-driven intros of old characters, Murphy smiling and mingling, cameos, callbacks, all invoking that desperate sequel feeling. Gladys Knight singing “Midnight Train to Zamunda”? Okay, that originally felt corny, but it feels funnier in hindsight?

Once things settle, though, this is often a Meet the Parents-type comedy through and thru. Murphy bonding together with his newfound son is a component comedy of manners, part parents just don’t understand. For reference, if Happiest Season felt a touch strangulating, Coming 2 America offers actual relaxation. The humor’s secret weapons are the chummy personalities and a curious sense of heart that the first wasn’t all that curious about, and people qualities are valuable during a family comedy.

Fowler’s big-timer confidence and dollar signs in his eyes are winning. Murphy shit-talking Arsenio Hall or Snipes – not unlike their rapport in Dolemite is My Name for the latter – trades on the pleasure of watching old pals not care if they appear ridiculous around one another. Leslie Jones and Tracy Morgan, as Lavelle’s mom and uncle, desire they can’t believe they were invited. Everybody involved seems like they’re on vacation. No, not within the Sandler side-comedy way, but like they’re happy being during this place and goofing around with each other. contribute Ruth Carter’s (Black Panther) technicolor costumes, needle-drops from African artists, and an upbeat pace, the all-around feel is that of a hangout.

His jokes deal in cultural references and wordplay, all attitude-driven. Izzi is proclaimed to be the inspiration for Scar in Lion King. Upon hearing about his son, Akeem proclaims “I will find the bastard of Queens!” Just goofy shit. And to the film’s credit — and this is often huge for a comedy sequel – it’s not annoying.

How Does Coming 2 America Stack Against The Landis Original?

To the comedy’s tone, it should be noted that this isn’t a John Landis film, for better and perhaps worse. No jokes aim as big and broad as Landis would have; that was his thing. He’d plan to asides, farce, and dirty jokes. Landis also had a propensity for needless nudity, dry storytelling, and getting uncomfortably on the brink of racism. Coming 2 America, under Craig Brewer (Hustle & Flow), features a lighter, swifter hand. He venerates and references the first amorously, but his sense of humor may be a little dorkier.

To be clear, the writers of the first, Barry Blaustein and David Sheffield, are back, and television whiz Kenya Barris (Blackish) throws in also. But Brewer would preferably be a crowd-pleaser than force an excessive amount of risque humor (an okay thing, and there’s still dirty bits for those in need!). Landis liked long takes on pained faces for comic reactions. Brewer digs musical numbers and chases with wild cats. Whereas Landis would draw a bead on a trans panic joke (remember Hall in embroiling the first?), Brewer runs with timely dunks on white privilege using Colin Jost during a minor role as a hiring manager.

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Netflix: Biggie: I Got a Story to Tell Reviewed

Netflix: Biggie: I Got a Story to Tell Reviewed


On March 1, Netflix released the documentary Biggie: I Got a Story to Tell, based on the life and death of iconic Brooklyn emcee The Notorious B.I.G.

The film captures the man born Christopher Wallace as he rose to Hip-Hop superstardom through never-before-seen home video footage and untold stories from the people closest to him.

There have been many films, TV series, and documentaries that touch on various aspects of B.I.G’s life. Many of them concentrate on his tragic unsolved murder on March 9, 1997, in Los Angeles, or his rivalry with his former friend, Tupac Shakur. However, Biggie: I Got a Story to Tell delves not only into B.I.G’s history but also into the lives of influential figures who helped him become one of rap’s biggest legends.

The documentary particularly converges on B.I.G’s mother, Voletta Wallace. We learn about her journey from Jamaica to New York, her involvement with B.I.G’s father before he deserted them, and her many years spent struggling to provide for her son while living in the drug and crime-infested community of Bed-Stuy, Brooklyn.

Ms. Wallace always saw her son as Christopher, never The Notorious B.I.G. Although she was aware of her son’s fame and fortune, she mostly just appreciated that he no longer had to resort to illegal means to sustain the family.

Biggie: I Got A Story To Tell. Christopher Wallace (Biggie). C. Courtesy Of Christopher Wallace Estate

B.I.G’s childhood friends and members of his drug-dealing crew took a vested interest in his musical talents. They felt he possessed the potential to make it in the music industry and that his talents were God-given; all he needed to do was leave the street life and focus on honing his craft as a Hip-Hop artist.

B.I.G’s intelligence and natural musical aptitude is another heavily explored theme in this documentary. His inspirations came in the form of his musician uncle in Jamaica and neighboring Jazz saxophonist, Donald Harrison. Their direction prompted Chris to discover his love for music at a young age, which eventually led to his obsession with Hip-Hop and rapping.

How Does The Documentary Of Christopher B.I.G. Wallace Fare?

Biggie: I Got a Story to Tell is probably one of the first looks at who Christopher Wallace was at his core. Hip Hop fans are over-exposed to tales of B.I.G’s exploits as a charismatic, charming once-in-a-lifetime talent in other films about him. In contrast, I Got a Story to Tell is a candid, non-sensationalized version of a naturally talented introverted prodigy.

Admittedly, the documentary makes B.I.G. out to be a hero with few flaws, despite his past in the drug trade. His tumultuous relationship with Lil Kim is glazed over to the point that her only acknowledgment is brief clips of her during Biggie’s rise. Whether or not her lack of a mention is done on purpose to maintain B.I.G’s integrity, Lil Kim’s erasure is only telling half of the story.

Still, the documentary is a stimulating depiction of a figure in Hip-Hop that fans thought they already remembered everything about. Seeing how willing people were to nurture the Notorious B.I.G’s talents adds a layer of depth to the King of New York and the aura surrounding him even two decades after his death.


Synopsis: In the wake of the Notorious B.I.G.’s landmark induction into the Rock and Roll Hall of Fame, and ahead of what would have been his 50th birthday, Biggie: I Got A Story To Tell offers a fresh look at one of the greatest, most influential rappers of all time by those who knew him best.

Made in collaboration with Biggie’s estate, I Got A Story To Tell is an intimate rendering of a man whose rapid ascent and the tragic end has been at the center of rap lore for more than twenty years. Directed by Emmett Malloy, this intimate documentary features rare footage filmed by his best friend Damion “D-Roc” Butler and new interviews with his closest friends and family, revealing a side of Christopher Wallace that the world never knew. I Got A Story To Tell is executive produced by Sean Combs, Voletta Wallace, Mark Pitts, Stanley Buchthal, and Emmett and Brendan Malloy. 

DIRECTED BY: Emmett Malloy

PRODUCED BY: David Koh, Wayne Barrow, William Green, Aaron L. Ginsburg, Terry 

Leopard, Daniel Pappas

EXECUTIVE PRODUCED BY: Stanley Buchthal, Emmet Malloy, Brendan Malloy, Voletta Wallace, Mark Pitts, Sean Combs


Celebs – Sean “Diddy” Combs, Faith Evans, Lil’ Cease, Fab 5 Freddy

Family/Fam Friends – Voletta Wallace, Gwendolyn Wallace 

(Biggie’s grandmother), Dave Wallace (Biggie’s uncle)

Childhood Friends – Damion “D Roc” Butler, Suif “C Gutta” Jackson, 

Hubert Sam, Easy Mo Bee

Industry – Mister Cee, Mark Pitts (Biggie’s manager)

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Win 2 Tickets: Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn) Review

Win 2 Tickets: Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn) Review

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Win 2 Tickets: Birds Of Prey (And The Fantabulous Emancipation Of One Harley Quinn) Review 10

Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn)

Directed by Cathy Yan

Let’s get this out of the way up front, first and foremost, and most importantly, Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn) is dump trucks full of fun. It’s nearly as much fun as a dozen Golden Lab pups. And it’s also completely insane. It’s nuts. it’s bonkers and deranged and psychotic and unhinged. It’s the film equivalent of taking Lemmy quantities of speed. It’s like taking a sample of Hunter S. Thompson’s blood and dropping it on some celluloid and seeing what happens. The film starts at 11 and keeps it upright to the end, bending into corners and towards the edge with no brakes. This is the kind of movie that has a loveable pet hyena and the loveable pet hyena is one of the more sane decisions.

I don’t want to talk about Suicide Squad but I think I have to. Birds of Prey is a kind of, sort of follow-up to Suicide Squad. But where Suicide Squad was everything that could be wrong about a movie, Birds of Prey is everything right. Where Suicide Squad barely passes as a movie, Birds of Prey is everything good and fun about movies. If Birds of Prey is a follow-up to Suicide Squad it might be the single biggest sequel trick in over a hundred years of film history. I can’t think of another film as bad as Suicide Squad having a sequel as great as Birds of Prey.

And that’s enough talk of Suicide Squad.

What’s Birds of Prey about? Well, it’s about the fantabulous emancipation of one Harley Quinn. After a hysterical animated exposition dump where we learn that Harley has dumped Joker, the movie begins with Harley holding that little factoid a secret. Harley with Joker is invincible, untouchable. Harley without Joker, well, all those people she’s pissed off over the years, they’re coming for her. And stuff and things happen. And that’s all your getting from me. Nice try.

What’s Birds of Prey like then? Good question. Like the Deadpool movies before it, Birds of Prey’s creative team uses Shane Black’s Kiss Kiss Bang Bang as a template. Fourth wall breaking. A narration that moves the story forward, backward, sideways. A movie with a slim grasp on linear time. That seems like it was directed by one of those kids on Ritalin who has been off their meds for a week or two. The humor of all shades, but mostly dark. It’s an odd truth, but Shane Black’s little mystery movie that couldn’t have served as a door into how to make movies about 2 characters that should be unfilmable. And it has worked as the template for 3 of the most entertaining comic book movies of, well, ever.

There is darkness in Birds of Prey. At its center is the story of a woman trying to figure out who she is without the alpha males in her life while half of Gotham tries to kill her. And she is over the moon psychotic. The movie takes place in a Gotham that we rarely see, that we only get hints of in the Batman films. It’s a world of struggle and poverty and crime and orphans without butlers. It’s a world of blood and violence and gore and chaos and the world’s greatest egg sandwich. It’s a world of darkness where things explode in comic book colors. Birds of Prey is a kaleidoscope of insanity and violence and profanity and gore and glitter. Like Shazam! and Aquaman before it, Birds of Prey steers straight into the strengths and weirdness of its source material and has more fun than should be legally allowed.

The cast is great. A mix of familiar faces with new faces and everyone brings their A-game. Margot Robbie is the life of the party, she sets the gold standard, brings the energy and invites everyone to keep up. And keep up they do. And then some. Ewan McGregor chews all the scenery he can find. He’s smooth as silk, flamboyant, dangerous. Rosie Perez completely owns the middle-aged alcoholic cop who has had enough. Jurnee Smollett-Bell is wonderful, singing and moving like a dancer, kicking all kinds of butt when needed. But the secret weapon of the entire project has to be Mary Elizabeth Winstead. She is funny and cool. Her Huntress may be one of the greatest assassins of ever, but she never gets her tag line down and has to practice it.

The action, stunt work, and fight scenes are also off the charts. Especially the fights, all long takes, more Hong Kong than American chaos. The long takes give us time to appreciate the choreography, which is, really, quite beautiful. But then you find out that John Wick director Chad Stahelski supervised the film’s action and it makes all kinds of sense.

I guess what I’m saying here is that I liked Birds of Prey. A lot. It’s fun. It’s twisted. The violence is kind of beautiful. And it earns its R rating, it does.



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Dare I Say, Hereditary Is The New Exorcist?

Dare I Say, Hereditary Is The New Exorcist?

Can Ari Aster And Hereditary Live Up To The Hype Machine?

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Hereditary, the first full feature film from director Ari Aster hits theaters everywhere on June 8th. It has already gained a rep for scaring audiences beyond belief. Horror film fans are questioning how scary is Hereditary and will they be in for a treat; critics are already proclaiming it “this generation’s The Exorcist.”

Now I went to the press screening for this at Austin’s Alamo Drafthouse on S. Lamar, not knowing much about the film. I knew that it was a horror movie and was already being dubbed as one of the scariest movies of this area. Considering I love a good horror film, I could not resist the challenge.

Eerie children, dark family secrets, dead animals, and a creepy doll’s house is a formula that will either indulge you or gets your blood pressure going. This film doesn’t come at your wits with a gentle touch. While it does manage to be subtle in many ways, it’s going to stick with you, and it’s going to leave you with images and responses you won’t be able to shake. I will say that the film does manage to carry itself more in a neutral ideology. This isn’t a traditional horror movie that plays on all the cinematic elements such as the musical score, color, and cheesy backstories. In fact, the film comes at you with an oppositional view that it could even be an interpreted as intense drama film. However, Hereditary is not a horror movie that waves its hat on cheap frights either. The scenes in the film that depict on your senses and wits are not based on the expected norm methods of scaring audiences. They do come at you in ways that you will not see coming. They will play on obscenity that may leave some uncomfortable and may even lose a little sleep over.

Director Ari Aster Raises Some Eyebrows For His Debut

Writer and director Ari Aster assert himself as a commanding talent right off the bat. Now, he may not be a man with much experience, but this seems like a movie made by someone who has the ability and savvy that can only come from years of commitment to the craft. Hereditary does not exhibit itself as a debut feature in any way, and that is possibly the highest praise that can be given to Aster. Aster is someone whose work will be watched very carefully because of this film. I am excited to see what he brings to the table down the line.

Of Course, A Great Casting Also Goes A Long Way

Hereditary has the advantage of both having something interesting to explore while also boasting a fantastic cast. Gabriel Byrne and Milly Shapiro merit appreciation for what they bring to the table, but there are a few of remarkable performances here. For one, Alex Wolff places himself as someone to keep your eye on. However, this movie goes to Toni Collette. This is an actress who has been doing outstanding efforts for a long time, but she’s never had the opportunity to glow like this before. Collette gives a transformative, intricate and layered execution that is as great as anything you’re likely to see this year. This film would likely have been damn solid without her, but it’s downright remarkable because of her.


Hereditary is not just a movie to see but preferably one that should be experienced. I strongly suggest everyone do what I did, go into this movie utterly blind to what the outside world is saying. Do I agree with other critics, citing that this film is today’s version of the Exorcist? Absolutely not, but that apple indeed does not fall too far from that tree. It is worth going to see, but it is not just a horror movie. It is a movie with some great acting and perfectly implemented images and moments that play on the mind. For the seasoned horror fan, you will enjoy and appreciate the style.