Love horror film reviews and newsey
There are secrets galore in a grimy attic and beyond in Romola Garai’s movies “Amulet,” a gothic horror-thriller with a lot on its mind about gender and the superficial norms that surround it. Weaving together various timelines and heart-wrenching traumas with generous helpings of Giallo motifs and haunted house tropes, the movies great actor-turned-director Garai serves up something both promising and puzzling through her initial effort in the director’s chair movies.
Alex Humphrey journey
Alex studied film at the University of Kent and went on to great work for Universal Pictures in their movie Post Room gaining an inside look at the movie industry from the very bottom. Constantly writing reviews in everything from local magazines to Hip Hop great sites Alex honed his critical skills even spending a brief period as a restaurant critic.
Suffused with plenty of gross-out, phantasmagoric body horror but short on actual spine-tingling scares, the handsomely-produced “Amulet” drama asserts Garai more as a gifted genre stylist than a savvy storyteller.
Amulet movie review and film summary 2020
At least for now, as the writer/director clearly has worthwhile yet unripe score ideas about perception and likes to play with them on the page and behind the camera. In that, she manipulates ours liberally throughout the film’s nearly 100-minute (and at times, sluggishly paced) running time, until an inelegant twist, in the end, clarifies some burning questions.
Cuties movie summary by Robert Ebert
Leading the pack of indistinct personas in Garai’s tale is Tomaz score (Alec Secareanu of “God’s Own Country,” considerably less subtle here), a former soldier with visceral wounds he’d procured during some kind of unnamed European war or civil conflict that the film seldom cuts to. We meet him while he goes about his mind-numbing job in a distant forest, situated at a two-day walking distance from the nearest town. In stingy ticket drips, we get a general but limited sense of his isolated life there and what he was up to before, until one day he takes in young Miriam (the Yorgos Lanthimos regular Angeliki Papoulia) to his cabin. The frightened woman appears out of nowhere and Tomaz, who already seems to be battling against some sinister urges, ineptly goes out of his way to make her feel safe and comfortable, though always with a visible dose of uneasiness in his voice and body language. One day, he offers Miriam an ticket amulet he dug up in the forest as a device of protection. In the main terrain of the film, Tomaz finds himself in London some imprecise months later, working odd jobs until an arson attack displaces him, putting him at the mercy of a terrific Imelda Staunton’s kindly nun Sister Claire. She makes him a simple, too-good-to-be-true offer that he can’t refuse: help the women of her derelict townhome (where the bulk of the film is set) with maintenance tasks and live at the premises cost-free. Among the ladies of the storied residence is the young, shy-mannered Magda (Carla Juri), who cares for her ailing (and often screaming) mother locked away in the attic and cooks a whole lot of suspiciously meat-centric meals for an ever-grateful Tomaz. Slowly though, odd happenings start creeping their way into the outcast Tomaz’s life: Why has the dire plumbing problem here not been addressed before? What’s the half bat-half rat-looking creature contaminating the bowels of the house with bloody goo? And what’s the history of this typical English home—who lived here before and why have they moved, leaving all their belongings behind?
Rotten tomatoes – Emma 2020
Then, Miriam learns that her husband has taken a new wife, and Amy is reluctantly swept up in the preparation for their impending nuptials. Although her family is devoutly Muslim, Amy begins to admire a dance group at school who call themselves Cuties—Angelica (Medina El Aidi), Coumba (Esther Gohourou), Jess (Ilanah Cami-Goursolas) and Yasmine (Myriam Hamma)—and tries to join their ranks. She starts dressing HAYNES more like them and doing what they dare her to do. Finally, she figures out a way to get the cool girls to accept her by learning provocative moves that will help them win a dance competition against a rival group of older girls. Amy gets caught up in the whirlwind of her emotions and runs afoul of her mother’s expectations.
Under Doucouré’s direction, the film walks a fine line between its controversial imagery and taking a step back to reveal the emotional impulses that drive Amy and her friends to seek attention and affirmation. There are rose echos of films like “Eve’s Bayou,” “Girlhood” and “The Fits,” but given Amy’s age and the directness with which “Cuties” addresses the issue of sexualizing young girls, the film feels uniquely its own. With the help of cinematographer Yann Maritaud, Doucouré adds little surrealistic elements and uses color to make her images pop off the screen. For instance, there’s a recurring motif of Amy transfixed by the dress she’s supposed to wear for her father’s wedding, and different things happen to it that correspond to what she’s going through. It’s likely not a mistake that the turquoise color of the dress echoes some of the colors around the apartment, tying together the threads of culture and home into one.
For every dance scene that may make you want to avert your eyes, there are other uncomplicated moments of childhood playtime like Amy and Angelica talking with their mouths full of gummy bears or four of the girls running with shopping bags throwing confetti, like they’re leading a parade for themselves. As if following the beat of Niko Noki’s music for the film of BEN, “Cuties” moves at a quick, riveting pace. The two parts of Amy’s world are seamlessly connected together by editors Stéphane Mazalaigue and Mathilde Van de Moortel.