As the industry continued to fight to regain its footing after Covid, we were treated to a mixed bag of belts during blockbuster season.
From Chris Hemsworth’s triumphant return to godhood in Thor: Love And Thunder to ‘The Cruise Missile’ (we’ll make that moniker happen) to jumping into the cockpit of Top Gun: Maverick, goosebumps have been around. Current and box office receipts have been generous.
Now that the kids are back in school and we’re heading into fall, the great movie party isn’t waning, and this week’s offerings are eager to delight fans looking for their fix.
Headlining Halina Reijn’s Bodies Bodies Bodies is looking to curry favor with dark horror-comedy enthusiasts, and the director is pulling out all the stops for her English-language debut. With a talented young cast taking center stage, this one seeks to take the horror-comedy crown from the immortal Scream, just as movies like 2009’s Jennifer’s Body have sought to do before. A tall order perhaps, but we like a little ambition.
Elsewhere, amid the resonating buzz following the long-awaited release of Lord of the Rings: The Rings of Power, Viggo ‘Aragorn’ Mortensen is back on the big screen, but not as the rough and ready ranger we remember. Peter Jackson’s groundbreaking trilogy.
Starring in David Cronenberg’s new sci-fi body horror film Future Crimes, Mortensen joins Léa Seydoux and Kristen Stewart for a disturbing ride through an unsettling setting that seeks to challenge viewers’ perspective on, eh well, everything.
Ready to make yourself comfortable? Let’s take a closer look…
Death often becomes the depraved and deserving in slasher movies.
The teenage fornicators are doomed to a dark demise along with the drug addicts, unwanted intruders, abusers, bullies and miscreants responsible for the deep physical and psychological wounds of the beleaguered hero.
A resourceful babysitter in peril or the sole survivor of an unprovoked attack are clearly telegraphed as protagonists to be cheered on.
Vengeance is theirs, drenched in blood and blood as they turn the tables against ruthless aggressors (until the inevitable sequel).
In director Halina Reijn’s twisted satire Bodies Bodies Bodies, none of the characters are particularly likeable or likeable.
These hedonistic kids in their twenties would be easy to butcher in another horror movie. So when a children’s game in the dark spirals out of control with tragic consequences, screenwriter Sarah DeLappe offers no clear instructions on who we should trust.
Its screenplay brilliantly captures the sentimentality of an egocentric generation, which lives and dies thanks to social media and its own relentless promotion.
The characters are insufferable and deluded – rich choices for a gifted ensemble cast led by Rachel Sennott and Amandla Stenberg, who ratcheted up the hysteria with lip-smacking aplomb.
The gnarly resolution of a whodunit thriller is less satisfying, relying on coincidences and questionable logic to deliver a final narrative punch.
Sophie (Stenberg) and her new girlfriend Bee (Maria Bakalova) travel winding hillside roads to a hurricane party at a remote mansion hosted by Sophie’s best friend David (Pete Davidson) and her coterie of wealthy friends.
“They’re going to be obsessed with you,” Sophie assures Bee, who is granted entry into this privileged circle for the first time.
Shortly before the downpour begins, Bee is introduced to David and his girlfriend Emma (Chase Sui Wonders), Jordan (Myha’la Herrold), Alice (Sennott) and boyfriend Greg (Lee Pace) – a another first addition to the group.
Their response to Bee isn’t particularly warm or welcoming.
As alcohol and drugs circulate and Bee unknowingly devours a cannabis-enriched chocolate cake, the group chooses to play a game of Bodies Bodies Bodies during a storm-related power outage.
Tension between partygoers explodes in the dark house and a hedonistic party member plays a murder victim for real.
How do you solve a problem like microplastics – tiny particles created for commercial use or broken down from single-use items discarded in the environment – and lessen their impact on delicate marine ecosystems?
Cinematic provocateur David Cronenberg’s audacious take is a futuristic nightmare in which evolved humans consume the plastic they make and throw away, greedily nibbling at the edge of a wastebasket or munching on beach detritus, including water bottles. water.
Save the planet we have relentlessly plundered and poisoned by exploiting the gluttony and greed of a dominant species.
Crimes Of The Future harkens back to the Canadian writer-director’s glorious past and his popularization of the body horror genre with stomach-churning feature films including Shivers, Rabid, Videodrome and The Fly.
Here, surgery is “the new sex” and self-harm is elevated to an orgiastic art: a rush of blood to the head and loins that renders old-fashioned expressions of intimacy obsolete.
“I’m sorry. I’m not very good at the old sex,” the Viggo Mortensen performance artist apologizes after a lackluster physical kiss with the smitten admirer of Kristen Stewart.
The excitement is reserved for an operating table where fully conscious nude figures quietly moan and groan as scalpel-wielding robotic arms controlled by human hands slice through their gently lifted skin and extract foreign organs.
These clinical extractions in front of a rapt audience holding a camera are one of the many darkly humorous titillations in Cronenberg’s oddly erotic and languorous picture.
In a dark and unspecified future of pronounced degradation and pollution, developments in human evolution have largely eradicated physical pain.
A government department called the National Organ Registry (NOR) is responsible for cataloging new organs that donors such as world-renowned performance artist Saul Tenser (Mortensen) are growing within their own bodies.
Saul’s partner, Caprice (Lea Seydoux), surgically removes these unwanted growths as the centerpieces of their busy artistic endeavors.
NOR Officer Wippet (Don McKellar) and his sexually repressed colleague Timlin (Stewart) take a particular interest in the couple’s activities.
Timlin becomes fixated on Saul and receives his advances, judging his new admirer as “rather attractive…in a bureaucratic way”.
Their fates collide with underground revolutionary Lang Dotrice (Scott Speedman), who hopes the artists will perform a live autopsy on his eight-year-old son Brecken (Sozos Sotiris) to publicly challenge mainstream wisdom about the human condition.
A decade after construction worker-turned-treasure seeker Tad Stones began his award-winning computer-animated escapades, the crash-prone hero battles creatures from Egypt’s underworld in a third big-screen mission helmed by Spanish director Enrique Gato. .
A 10 year anniversary gift is traditionally made of pewter or aluminum.
Alas, some of the humor in Tad the Lost Explorer and The Curse of the Mummy sinks like a lead balloon, especially a freewheeling joke about a Tour de France yellow jersey cyclist being denied his rightful place. in sports history by a runaway bathtub.
The Mona Lisa also suffers an ignominious fate on the walls of the Louvre.
Tad Stones (voiced by Trevor White) wreaks havoc on a dig site in Mexico run by the University of Chicago Archaeological Department and his sweetheart Sara Lavrof (Alex Kelly).
He impetuously pushes a stone relief inside an Aztec temple and activates a trapdoor mechanism that leads to a vast chamber and – oddly enough – an Egyptian sarcophagus.
Traps reduce the temple to rubble, but not before Jeff, Tad’s excited pooch, swallows a gold pendant.
Tad leaves Mexico in disgrace, considered “a danger to archeology”, and returns disheartened to Chicago where a rotting bandaged and misfit mom (Joseph Balderrama) is secretly locked in her apartment.
Shortly after, crackpot TV supernatural investigator Victoria Moon (Elena Sanz) contacts Tad with a wild theory about the temple’s gold pendant.
Tad the Lost Explorer and the Curse of the Mummy unfolds at a breathtaking pace, creating conflict between Tad and his crew before a concise distillation of life lessons about friendship and self-sacrifice.
Gato’s pic exudes no bravery action piece or heartfelt emotion from globetrotting antics, but it’s short and sweet at 89 minutes.