The Scary of Sixty-First

Terrible movie. Acting and dialogue was so terrible the audience was laughing. Tried to do an Eyes Wide Shut x American Psycho thing, but it was like a high schooler's tribute. Was looking forward to it being shot on film, but it was done terribly. Half the shots didn't even come out and were used anyway. It's clear this entire movie was just to showcase that Nekrasova is a sexy little freak, as the clearest and most thoughtful shots were her spitting in co-star Madeline Quinn's mouth during a (completely unnecessary to the plot?) sex scene. The ONLY redeemable part of the entire film was the score by Eli Kessler, which was subtle but powerful at the same time. Incredible musician.

See this movie but only if you stream it, dont give this any more money lol.

While the giallo influence may have been intentional, it didn't land for me. The conspiracy-driven plot combined with ritual horror was more frustrating than eerie. The constant tonal shifts, including the off-putting audio choices, made it feel more awkward than unsettling. I kept wondering if the weirdness was part of the charm for fans of this style, but it just didn't click. If you're into offbeat horror that pushes the boundary of strange, it might be for you, but I found myself distracted by how rough it all felt.

Even with its strange premise, it felt like it was trying too hard to shock rather than build suspense. The Epstein conspiracy angle didn't add depth, and I kept waiting for something to pay off that never did. Overall, it's a miss for me.

I watched this at Summer Berlinale. It's like a bad student film, or like mocking bad student films. References: yes. Competence: no. At 80 minutes it's way too long. Which doesn't mean there's not enough plot. This would be much better with just btches screaming on and on and on, like an art loop.

This film was so horrendous in every way, it was like watching a bad student project. You want to laugh at it, but you can't believe people actually thought that this was good enough to release as an actual film. Everything about it was porn levels of bad, from the acting to the action. I started to think it was a vanity project by some lame feminist lesbians, but then why would they make such a atrociously bad film? I mean, this is just on a whole other level of travesty. We're talking Battlefield Earth levels of trash.

I don't even know what else to say. Does it even deserve anything else being said about it? The acting was trash, the directing was trash, the script tried to be funny but ended up being trash. I mean, the scariest part about the movie was the fact that all of the things they said about Epstein and his cabal of high profile satanic deviants is true. All of it. There is no "conspiracy theory". It's all truth and the quicker people realize just how demented it all is, the quicker we start to weed out the sickos that run the world.

In the end, the movie sucked but it had to be made. Will it be taken seriously by those who'd rather not know about any of it? Of course not. But people who are aware will appreciate just how truly twisted real life is and no movie could ever match that.

Neither suspenseful and self-aware enough to be a gallo film nor clever in its psychological distress of the stripe of Argento, nor as conspiracy-addled as Eyes Wide Shut (despite the material lends itself to a serious search-no Aquino, no Wexner Ohio police force, none of the threads re: Epstein's being a tapped gifted student the likes of Sarfatti; an episode of Subliminal Jihad will take you much further). Nor is the film willing to hurl itself into experimentation and formal editing proper (a Brakhage-esque experiment in conspiracy qua audio-visual editing, like a Project Wandering Soul meets Paul McCarthy, would be genuinely interesting). This is a film that loses its thread early on and lapses into clichés that do not embrace their being clichés, which means the film refuses to be self-referential. It loses the thread in a way that is similar to Jacques Rozier's Maine Ocean, but is not as smartly edited or funny. This ends up looking like the director made a poor film not as a critical exercise with which to playfully challenge but because they simply could not make a good film. The sole saving grace is, at certain points, the lighting. A pity, because the Epstein matter lends itself to cinema. Go watch Francesco Rosi for much more accurate and affecting cinematic portrays of conspiracy. I do hope the director's subsequent film takes up the challenge of making a genuinely good film.