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I first saw this film two years ago in the cinema, and fell in love with this dark tale of two brooding teenage sisters coping at home in their large country house with their father and step-mother. Their relationship with their step-mother is strained to say the least, with the step-mother appearing to be increasingly becoming unstable in her battles with the younger girls. The film though slants with Oriental style ghost effects and horror, which adds a strange and unsettling aspect to the story that on first viewing is not clear, but is all the more intriguing.The direction is incredibly good, and the acting is stunning, with the step-mother in particular incredibly good swinging from one mood style to another in the film. The large house adds eeriness, and there are enough points in the film where you will jump out of your seat. This film to me clearly shows why Korean cinema is possibly the best most original in the world at the moment. You simply don't get anything like this in the Western World, sadly,and really i can see it being influential on film makers around the world in the next decade.Highly recommended viewing in my opinion, a real joy and scare...
The new Disney film Frozen aims to add to that list with a tale of two sisters. The older sister, Elsa, is born with the power to create snow and ice out of her hands. As she grows up, her powers become too strong, and she is forced to hide them. The sisters are divided; Elsa lives in fear, while Anna longs for connection.
Korean horror movies are brutal, funny, and in a completely different league. The brand of horror found in Korean cinema contradicts much of what we expect from mainstream American movies. These films are not as concerned with quick cuts and jump scares, but rather digging into the deepest parts of the human subconscious, where dark thoughts grow like poisonous mushrooms. Violence is treated like an art form, beautifully choreographed in films like "Oldboy" and "I Saw The Devil" that illustrate the evil any person is capable of; in these movies, there isn't one explicit bad guy. Everyone can be the villain.
Zombie movies are a dime a dozen these days, making it hard to imagine what else there is to say in the genre. So, yes, I was surprised by writer-director Cho Il-hyung's 2020 film "Alone," based on a short story by Matt Naylor. While fully embracing the zombie apocalypse and its wacky rules, Il-hyung sends the viewer on a heart-pounding roller coaster ride that packs an emotional thematic punch (just be aware that it should come with a trigger warning; the film contains a very graphic depiction of attempted suicide by hanging).
When Adele sings on her new album, "25," about an emotional experience so vivid that "It was just like a movie / It was just like a song," she's probably thinking of a tune by one of her idols: Roberta Flack, say, or Stevie Nicks. But for fans of this 27-year-old British singer, such a moment could only be captured by one thing: an Adele song. With her big hair and bigger voice, Adele broke out in 2008 as part of the British retro-soul craze that also included Duffy and Amy Winehouse. Her debut album, "19," spawned a hit single in "Chasing Pavements" and led to a Grammy Award for best new artist. Yet she outgrew any style or scene with the smash follow-up, "21," which presented Adele as a great crystallizer of complicated feelings, an artist writing intimately about her own life (in this case about a devastating breakup) in a way that somehow made the music feel universal. Clearly, the pressure is on to duplicate that commercial success with "25," which comes after a long period of public quiet in which Adele recovered from throat surgery and gave birth to a son (and tweeted no more than a few dozen times). "Hello," the record's brooding lead single, set a record when it was released last month, racking up 1.1 million downloads in a week. But the song's enthusiastic embrace only underscored the other, more pressing demand on the singer as she returns: that her music still provide its trademark catharsis. Put another way, Adele's fans have been waiting for years for new Adele songs to explain their experiences to them. And they get a worthy batch on "25." (Mikael Wood) Read more
The Lara Croft of "Rise of the Tomb Raider" may believe in fairy tales, but that doesn't mean she's willing to put up with nonsense. Early on a man who, like most men in this retooled take on the classic adventuring archaeologist, is viewed with general distrust, tells Croft that she isn't likely to survive the vast ancient ruins of the game sans his help. "You won't get far without me," he says. Croft doesn't miss a beat. "You don't know how far I've come," she says, proving as adept with a put-down as she is with an arrow and a bullet. One of gaming's great surprises in recent years is indeed just how far Lara Croft has come, shedding her late-'90s image as eye candy in a catacomb to the fully realized character she is today. Once a symbol for how gaming accentuated a woman's features for a male audience, the Croft of 2015 is as worthy a hero as Furiosa in "Mad Max: Fury Road." The Croft of "Rise of the Tomb Raider" is intelligent, stubborn, complicated, empathetic and a heck of a good shot. She's as consumed with rare artifacts as she is her own demons, a character with supreme intellect and superpower-like abilities who still manages to feel human. Read more
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