Coventry
Nov. 2002 ist beigetreten
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Bewertung von Coventry
Once more I was only hoping for a straightforward but raw and excessively violent horror flick set in Europe, and yet - once more - what I got was a totally disappointing, dumb, and pretentious sort of body horror experiment for which I'm not in the target audience group. What was this about, anyways? According to the dictionary "cuckoo" can either mean a) common European bird noted for its characteristic call and its brood parasitism, or b) crazy or foolish person. Naturally I assumed the film revolved around a crazy or foolish person chasing and slashing up other people in the Bavarian Alps, but no ... it's about the songbird!
"Cuckoo" starts more or less promising with an American family emigrating to Germany, much against the will of the mentally messed up 17-year-old Gretchen who hates her stepmother and mute stepsister. Her parents are supposed to run a new holiday resort owned by the odd Herr König and, to earn some money, Gretchen agrees to work as a receptionist in one of König's other resorts. Then, things start to get weird, confusing and nonsensical. Gretchen gets chased by a hysterically shrieking women, she repeatedly gets stuck in a sort of time loop, her stepsister gets a series of seizures, and there's an ex-cop running around claiming there are horrid impregnation practices happening at the resort (that are similar to the cuckoo bird's brooding habits).
Sounds quite interesting, I know, but it's chaotic, boring and completely senseless. Trust me. There's never a half-decent explanation given regarding what exactly is going on in König's resorts, or what he is trying to achieve with it. I'm generously giving "Cuckoo" two extra points. One point because Dan Stevens is great in depicting creep characters, and another point for the excellent use of the wonderfully beautiful Italian song "Il Mio Prossimo Amore" by Loretta Goggi. That scene proved to me that writer/director Tilman Singer at least has some good taste.
"Cuckoo" starts more or less promising with an American family emigrating to Germany, much against the will of the mentally messed up 17-year-old Gretchen who hates her stepmother and mute stepsister. Her parents are supposed to run a new holiday resort owned by the odd Herr König and, to earn some money, Gretchen agrees to work as a receptionist in one of König's other resorts. Then, things start to get weird, confusing and nonsensical. Gretchen gets chased by a hysterically shrieking women, she repeatedly gets stuck in a sort of time loop, her stepsister gets a series of seizures, and there's an ex-cop running around claiming there are horrid impregnation practices happening at the resort (that are similar to the cuckoo bird's brooding habits).
Sounds quite interesting, I know, but it's chaotic, boring and completely senseless. Trust me. There's never a half-decent explanation given regarding what exactly is going on in König's resorts, or what he is trying to achieve with it. I'm generously giving "Cuckoo" two extra points. One point because Dan Stevens is great in depicting creep characters, and another point for the excellent use of the wonderfully beautiful Italian song "Il Mio Prossimo Amore" by Loretta Goggi. That scene proved to me that writer/director Tilman Singer at least has some good taste.
The Mexican gothic horror movies from writer/director Carlos Enrique Taboada ("The Book of Stone", "Darker than the Night", "Even the Wind is Afraid") play in a different league, that's for sure, and "Poison for the Fairies" is nearly a masterpiece. Actually, I'm not sure if you can refer to this film as horror. It's more of a drama, but definitely a drama of the utmost disturbing kind.
You can tell straight from the beginning that "Poison for the Fairies" will be a truly unique and original type of film. After a couple of sequences, you realize that none of the adult characters' faces are ever shown and that the camera's perspective is permanently set at the children's ideal height. This is Taboada's clever gimmick to make clear his film entirely revolves around his child protagonists. And yet, in a strange and almost unfathomable way, the movie is about parenthood. More specifically, about how parenting - or the lack thereof - defines you for life.
Veronica tragically lost her parents in a car accident at a young age and got placed in her ailing grandmother's house. She's raised by a nanny who tells stories about witches and devils, which gradually persuaded Veronica that she is a witch herself. Flavia is the only child of rich and loving but overprotective parents. She's naïve, easily scared, docile, and highly influenceable. Veronica immediately overpowers Flavia with her stories of being a witch, manipulates her, and forces the terrified girl to help casting spells and preparing poisonous potions for the witches' arch enemies; - the fairies.
Most of "Poison for the Fairies" is slow and totally uneventful, but the ominousness is incredibly intense. Veronica becomes increasingly mean and dominant, with nobody to reprimand her or talk the vicious fantasies out of her head. Poor Flavia grows increasingly desperate and too afraid to reach out for help. Even without reading about it in practically every review around here, you can sense that a tragic climax is inevitably forthcoming... but for who? And what'll be? One thing I can reveal already, it will haunt your thoughts long afterwards.
You can tell straight from the beginning that "Poison for the Fairies" will be a truly unique and original type of film. After a couple of sequences, you realize that none of the adult characters' faces are ever shown and that the camera's perspective is permanently set at the children's ideal height. This is Taboada's clever gimmick to make clear his film entirely revolves around his child protagonists. And yet, in a strange and almost unfathomable way, the movie is about parenthood. More specifically, about how parenting - or the lack thereof - defines you for life.
Veronica tragically lost her parents in a car accident at a young age and got placed in her ailing grandmother's house. She's raised by a nanny who tells stories about witches and devils, which gradually persuaded Veronica that she is a witch herself. Flavia is the only child of rich and loving but overprotective parents. She's naïve, easily scared, docile, and highly influenceable. Veronica immediately overpowers Flavia with her stories of being a witch, manipulates her, and forces the terrified girl to help casting spells and preparing poisonous potions for the witches' arch enemies; - the fairies.
Most of "Poison for the Fairies" is slow and totally uneventful, but the ominousness is incredibly intense. Veronica becomes increasingly mean and dominant, with nobody to reprimand her or talk the vicious fantasies out of her head. Poor Flavia grows increasingly desperate and too afraid to reach out for help. Even without reading about it in practically every review around here, you can sense that a tragic climax is inevitably forthcoming... but for who? And what'll be? One thing I can reveal already, it will haunt your thoughts long afterwards.
The idea of bored but clever and highly observant old people deep-diving into, and subsequently solving, murders and cold cases sounds very original and inventive, but it is actually nearly a century old already... It was thought up by dame Agatha Christie in 1927 when she introduced the recurring character of Miss Marple; - a timid but friendly old spinster who lives in the little town of St. Mary Mead and solves complex murder cases via detailed observation and intelligent deductions. Director Chris Columbus and the writing team are fully aware of Agatha Christie's influence, though. The author's name gets mentioned, and the title is - at least, I reckon - a homage to Christie's first story in which the character of Miss Marple appeared, namely "The Tuesday Night Club" (and also has a similar set-up).
In the very massive and fancy retirement home of Coopers Chase, four residents meet up every Thursday to discuss unresolved murder cases. They just started looking into the tragic case of "The Girl in White" when they suddenly need all their skills & talents for solving an actual murder that happens right under their noses. One of the dubious proprietors of Coopers Chase has been murdered, possibly by another and even more dubious proprietor, and an argument about the potential sale of the estate might be the motive. The club members intrude into the police investigation, provide vital evidence, and bump into a few unlikely suspects.
"The Thursday Murder Club" is fun to watch, but mostly thanks to the veteran cast members who were clearly also enjoying their scenes together. The story itself is rather, ... meh. The murder mystery/whodunit aspect of the plot honestly isn't very convoluted, while the red herrings are quite transparent. Surely, any half-decent homicide detective could have found the culprit without the help of hobbyist-sleuths. The extra twists and sub-plot added in the final act of the film are implausible and mediocre, but luckily by then the fantastic Helen Mirren and the others already convinced you this wasn't a waste of time or Netflix money.
In the very massive and fancy retirement home of Coopers Chase, four residents meet up every Thursday to discuss unresolved murder cases. They just started looking into the tragic case of "The Girl in White" when they suddenly need all their skills & talents for solving an actual murder that happens right under their noses. One of the dubious proprietors of Coopers Chase has been murdered, possibly by another and even more dubious proprietor, and an argument about the potential sale of the estate might be the motive. The club members intrude into the police investigation, provide vital evidence, and bump into a few unlikely suspects.
"The Thursday Murder Club" is fun to watch, but mostly thanks to the veteran cast members who were clearly also enjoying their scenes together. The story itself is rather, ... meh. The murder mystery/whodunit aspect of the plot honestly isn't very convoluted, while the red herrings are quite transparent. Surely, any half-decent homicide detective could have found the culprit without the help of hobbyist-sleuths. The extra twists and sub-plot added in the final act of the film are implausible and mediocre, but luckily by then the fantastic Helen Mirren and the others already convinced you this wasn't a waste of time or Netflix money.
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