I join “CTV News Toronto at Five” with anchor Zuraidah Alman to talk about the alien adventures of “The Outer Threat,” the moody “Her Private Hell” and the existential sci fi of “Lars Shrike Walks the Night.”
Watch the whole thing HERE! (Starts at 14:03)
I join CTV NewsChannel anchor Renée Rodgers to talk about the new releases in theatres including the alien adventures of “The Outer Threat,” the moody “Her Private Hell” and the existential sci fi of “Lars Shrike Walks the Night.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the alien adventures of “The Outer Threat,” the moody “Her Private Hell” and the existential sci fi of “Lars Shrike Walks the Night” (VOD/Digital).
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make the bed. Have a look as I race against the clock to tell you about the alien adventures of “The Outer Threat,” the moody “Her Private Hell” and the existential sci fi of “Lars Shrike Walks the Night.”
Watch the whole thing HERE!
SYNOPSIS: In “Her Private Hell,” a new sci-fi mystery thriller from Danish director Nicolas Winding Refn, and now playing in theatres, a mysterious killer comes into contact with characters in two timeframes.
CAST: Sophie Thatcher, Charles Melton, Havana Rose Liu, Kristine Froseth, Shioli Kutsuna, Aoi Yamada, Dougray Scott, Diego Calva, Hidetoshi Nishijima. Directed by Nicolas Winding Refn.
REVIEW: Few things are worse than listening to someone explain their nightmares. Watching the dreamlike “Her Private Hell” is one of them. Nicolas Winding Refn’s impenetrable endurance test strains patience as much as the most long-winded dream recounting.
A story of fathers, daughters and a nasty serial killed named The Leather Man, “Her Private Hell” is set against the surreal backdrop of a fog drenched netherworld that recalls a Billy Squier video from 1984. “Don’t fight the mist, just move through it.”
Sophie Thatcher plays actress Elle, star of a cheesy sci-fi film called “Candy Floss.” A cross between “Star Wars” and “Barbarella,” it also features Hunter (Kristine Froseth), a newbie obsessed with the trappings of fame.
Elle’s job is complicated when her movie producer father Johnny Thunders (Dougray Scott) announces his wife, Dominique (Havana Rose Liu), who happens to be Elle’s former lover, will be taking over as producer.
“This movie’s gonna be hell,” Elle says and at this point it’s as if she’s warning the audience about the film they’re watching not the fictional one she’s starring in.
When Elle and Hunter witness The Leather Man gruesomely kill a young woman, the story suddenly switches to postwar Japan, and a GI named Kay’s (Charles Melton) quest to find and destroy The Leather Man.
Both beautiful and banal, “Her Private Hell,” Refn’s first film in ten years, is all style and no substance. It indulges in his trademarked aesthetic—scenes bathed in neon light, hypnotic long takes and graphic violence—while offering little in the way of a comprehensible story. Despite its gloss, and high-minded ideas about revealing each character’s personal hell, it is crushed under the weight of its own moody pretention.
Refn, who now goes by the brand name NWR, isn’t afraid to take chances—his story is all over the place and he even has his characters speak in a wolf language at one point—but it’s all in service to a story that is more punishing than pleasurable.
How to describe director Nicolas Winding Refn’s “The Neon Demon”? You could use five dollar words like transgressive and hallucinatory. Or make comparisons to “Mulholland Drive” and “The Eyes of Laura Mars,” but none of that really comes close to capturing the nervy essence of what Refn attempts here.
Elle Fanning stars as the underage, somewhat naive model Jessie. An orphaned teen from a small town who’s been in Los Angeles “for like, a minute” scores a shoot with a hot shot photographer (Desmond Harrington). “She has that thing,” says her only friend, a makeup artist named Ruby (Jena Malone). Jessie’s fresh-faced appeal opens doors in the industry—Alessandro Nivola plays a big time designer who gives her the closing spot in his show even though its her first trip down a runway—but earns the ire of established models like Sarah and Gigi (Abbey Lee and Bella Heathcote) who she is replacing. “What does it feel like to walk into a room and it’s like the middle of winter and you’re the sun?” Sarah asks the new girl.
Refn, who also wrote the script, has pulled off something quite extraordinary here. He has made a movie that visually mirrors his subject. Setting the film in the vacuous world of fashion allows him to indulge his filmic sense while mirroring his visual ideas in the script. When the designer says, “True beauty is the highest currency we have,” he may have been talking about the fashion biz or Refn’s style of composing gorgeous images that accompany the film’s performances. I say accompany because there is a chilly disconnect between the story, which, true to its subject, is kind of hollow, and striking images on the screen. To reinforce that notion Refn even has a character say, “Beauty isn’t everything, it’s the only thing.”
A gutsy late movie turn toward necrophilia, horror and violence, while heart pounding and jarring, mostly draws the film even further away from any kind of traditional structure, although does graphically display how far people will go to capture the true essence of beauty.
“The Neon Demon” is a tone poem. The cast is terrific, especially Fanning in a role that requires steely determination and vulnerability, Keanu Reeves fans might get a kick out of seeing him go down ‘n dirty as a scummy motel manager and fans of “Mad Men” will enjoy seeing Christina Hendricks back at work, but this is a film more about feel than narrative and is the very definition of a “not for everyone” movie.
