ALL OF US STRANGERS

 

All of Us Strangers

 

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ALL OF US STRANGERS is a beautiful fantasy-supernatural romance that delves into the depths of grief, loneliness, and love. Directed by Andrew Haigh, the film features tremendous performances from Irish actors Paul Mescal and Andrew Scott, who portray the complexities of their characters with grace and tenderness. The story revolves around Adam, a screenwriter portrayed by Scott, who is grappling with the loss of his parents. His life takes a surreal turn when he discovers his parents, played by Claire Foy and Jamie Bell, are somehow still alive in his childhood home. The film is adapted from the Japanese novel STRANGERS by Taichi Yamada, and it beautifully balances the melancholy sweetness of the original with its own eerie and uncanny revelations. The cinematography is exquisite, using light brilliantly to convey memory and emotion. ALL OF US STRANGERS is not only a film about grief and loneliness; it’s about finding joy in relationships and understanding our parents as ordinary, vulnerable people. This thought-provoking drama is a must-watch for those seeking a film that combines emotional depth with visual beauty.

FAST CHARLIE

 

Fast Charlie

 

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The plot of FAST CHARLIE is engaging and neatly unfolds like a tick-tock journey. Charlie’s comfortable life as a Mob killer and fixer gets torn apart overnight when a rival gangster, Beggar Mercado, decides to eliminate Stan and his entire team1. The film then follows Charlie’s will to survive and his ice-pick attitude under his debonair surface. Director Phillip Noyce deserves praise for his work on FAST CHARLIE. He brings the film in at 90 minutes, a rare feat these days, and stages it so that each plot swivel arrives in time to take the audience somewhere1. The film is a modest genre movie, and that’s what’s good about it. The film also features a credible May-December romance, which grows amidst the constant mayhem. This adds another layer to the film, making it not just a crime drama but also a touching love story. In conclusion, FAST CHARLIE is a film that does much without doing much. It’s a minor gangster film that manages to captivate the audience with its character depth, engaging plot, and excellent performances. Brosnan’s portrayal of Charlie is particularly noteworthy, making FAST CHARLIE a must-watch.

FOE

 

Foe

 

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FOE, featuring the ever-talented Saoirse Ronan and Paul Mescal, is a thought-provoking sci-fi drama set in a dystopian future. The film delves into the complexities of a couple’s relationship when the husband is chosen for a space mission and replaced by an AI replica. Ronan and Mescal deliver compelling performances, bringing depth and nuance to their characters (in our opinion, this is Mescal’s best work). The film’s visual aesthetics are powerful, creating a hauntingly beautiful dystopian world that lingers in the viewer’s mind and immediately captivates. The cinematography and production design are standout elements, contributing significantly to the film’s overall impact. While not the most original script, the movie is not without its surprising moments. An incredible score underlines the tension in the film as it progresses towards its conclusion. Despite mediocre (and unjustified) reviews, we encourage everyone to check out this latest work from Ronan and Mescal…as actors they give believable performances, honouring the script and mood of the film from the very first scene. Highly recommended by IFTV!

GOOD GRIEF

 

Good Grief

 

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GOOD GRIEF explores the complexities of grief and loss. Directed by Dan Levy, who also stars in the film as Marc, it tells the story of a man who loses his author husband, Oliver (played by Luke Evans), in a car accident. The film takes place a year after Oliver’s death, when Marc discovers that Oliver had been having an affair. The film has been described as a therapeutic portrayal of grief, with some reviewers noting that it feels like it is straining a little too hard. Some critics felt that the film failed to set the screen on fire, despite the strong performances from the cast. Ruth Negga, who plays one of Marc’s best friends, Sophie, has been praised for her performance. The film has been noted for its focus on a makeshift family, with warm performances from the cast. However, some critics felt that the characters were not fully developed. Despite these criticisms, the film has been described as watchable. In conclusion, GOOD GRIEF is a sombre, well-intentioned drama that explores the complexities of grief, loss, and betrayal. While it has its strengths, particularly in its performances, it also has areas where it could improve.

NIGHT SWIM

 

Night Swim

 

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NIGHT SWIM, directed by Bryce McGuire, stars Kerry Condon and Wyatt Russell in a tale that is as much about the human condition as it is about the horror that lurks beneath the surface of everyday life. The film’s unique premise presents a seemingly harmless swimming pool as the source of terror. This concept, reminiscent of the works of Stephen King and David Lynch, transforms an ordinary suburban setting into a backdrop for unsettling events. The film’s sound design and camera angles effectively create a lingering, unsettling mood. Kerry Condon delivers a stellar performance as Eve, a hopeful wife navigating her husband’s early retirement due to a degenerative illness. Her nuanced portrayal adds depth to the film, making it more than just a horror flick. While “Night Swim” has received mixed reviews, it’s the film’s emphasis on character development and family dynamics that sets it apart. It may not deliver intense scares, but it offers an interesting twist on the horror genre by turning an everyday suburban setting into a source of terror. In conclusion, NIGHT SWIM is a must-see for horror fans. 

THE KILLER

 

THE KILLER

 

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David Fincher’s THE KILLER a masterclass in tension and technical brilliance, even if it doesn’t quite hit the emotional depths of some of his previous work. The film follows a nameless assassin, played with icy detachment by Michael Fassbender, as he navigates the treacherous underworld of contract killing. The film’s greatest strength lies in its meticulous attention to detail. Every shot, every line of dialogue, every piece of set dressing feels carefully considered and purposeful. This level of precision extends to the performances as well. Fassbender is particularly impressive, embodying his character’s cold, calculating nature while still hinting at the humanity beneath the surface. Fincher’s direction is as assured as ever. He crafts a number of intense, edge-of-your-seat sequences that showcase his ability to create suspense and dread. The film’s action scenes are particularly noteworthy, combining brutal violence with a kind of balletic grace. THE KILLER is a solid addition to Fincher’s filmography. While it may not reach the heights of FIGHT CLUB or THE SOCIAL NETWORK it offers a fascinating exploration of a morally ambiguous world.