As the Hellraiser films continue, the rising fascination with mythology became the series downfall. By Hellraiser III, the films end up contradicting each other and by Hellraiser: Bloodlines the film boggs itself down in an entire origin story subplot. Fortunately, Hellraiser: Inferno decides to break away from the lore and do its own thing. Its own thing might make it not much of a Hellraiser film, but it might be the best entry in the series since the original film. Continue reading
SPOILER WARNING: The entire film, including the ending, is discussed at length.
Gone Girl starts as a straightforward mystery with a dash of ambiguity. Nick Dunne (Ben Affleck), comes home on his fifth anniversary to discover that his wife Amy (Rosamund Pike) is gone. As the cops investigate, clues point to the notion that Nick might have killed his wife, accentuated by his uncharacteristically friendly demeanor. As the cops dig into the case, it’s clear the marriage was in trouble. Continue reading
One of the greatest strengths of cinema is its ability to place us into someone else’s life. Many art forms do that, but something about cinema makes it easier to inhabit the sensory world of a character, which can often provide the most poignant insight into his or her reality. However, Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles struggles with the boundaries of cinema’s potential to understand the life of a character. Continue reading