aghostofachance
Joined Feb 2018
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aghostofachance's rating
I recently saw "The Gorge," directed by director Scott Derrickson whom I knew from his supernatural and sci-fi movies such as: "The Exorcism of Emily Rose", "Sinister", "Doctor Strange" and "Black Phone", which I enjoyed watching in the past. "The Gorge" is a "genre-fusion" movie that blends action, horror, and romance together which can charm the fans of these genres. Above everything else, I really loved the characters and the chemistry between them. Miles Teller (who looks especially hot in this movie) and Anya Taylor-Joy (who always look hot in every movie) portray Levi and Drasa, two very sharp-shooting snipers stationed on the opposite sides of a mysterious and deadly chasm. Teller-Joy performances are so good as a couple and they really look so good as a perfect match. I would really love to see these two continue their own story in a totally different location with a new story after the events of "The Gorge". I hope Scott Derrickson do NOT give up on this amazing couple after a single shot.
Not only the romance but also the intense action sequences in the movie makes the film an entertaining watch. The story picks up speed fast and there are some really good action scenes, which could have been much better due to the low quality of the CGI effects. Most of the time, those effects were too raw or simple, as if from a computer game... "The Gorge" can also be considered as a sci-fi monster movie too and there are some really terrifying mutant creatures in it. And as the queen of all sci-fi monster movies, "Alien" star Sigourney Weaver is masterfully but very briefly portraying a villainess as a cruel operation master. However like in most genre-fusion movies, the genre transitions feel a bit weird and uneven at times although it's pretty long movie to tell a simple story. Not boring at all but some parts felt rushed or incomplete.
I often enjoy those movies who can really make the audience form a good bond with the lead characters and this adds too much to the tension and anticipation. "The Gorge" successfully does that as we delve into the background stories of the two leads alternatively, we begin to like them and care about their survival and love amidst all those risks. I was expecting a little bit more about exploring the mystery of the chasm, the supernatural and the scientific facts were not as satisfying as the authenticity of the characters. This was the only underdeveloped part of the movie, which could have been great with a much better explanation of the origins. Dan Laustsen's cinematography successfully captures the eerie atmosphere of the gorge. I almost knew what to expect from such a brilliant cinematographer who worked with Guillermo del Toro in his many movies, plus the horror classic "Silent Hill" of course. The original score and the songs chosen for soundtrack were also great for an action movie like this one. I am giving this movie 8+ only with the expectation for the lead characters return with a future installment and a totally new story. These two could for example become a free-lance team and continue exploring secret test sites and conspiracy theories all over the world. Hear me out Mr Derrickson... Those who will love this movie, will also definitely want more.
Not only the romance but also the intense action sequences in the movie makes the film an entertaining watch. The story picks up speed fast and there are some really good action scenes, which could have been much better due to the low quality of the CGI effects. Most of the time, those effects were too raw or simple, as if from a computer game... "The Gorge" can also be considered as a sci-fi monster movie too and there are some really terrifying mutant creatures in it. And as the queen of all sci-fi monster movies, "Alien" star Sigourney Weaver is masterfully but very briefly portraying a villainess as a cruel operation master. However like in most genre-fusion movies, the genre transitions feel a bit weird and uneven at times although it's pretty long movie to tell a simple story. Not boring at all but some parts felt rushed or incomplete.
I often enjoy those movies who can really make the audience form a good bond with the lead characters and this adds too much to the tension and anticipation. "The Gorge" successfully does that as we delve into the background stories of the two leads alternatively, we begin to like them and care about their survival and love amidst all those risks. I was expecting a little bit more about exploring the mystery of the chasm, the supernatural and the scientific facts were not as satisfying as the authenticity of the characters. This was the only underdeveloped part of the movie, which could have been great with a much better explanation of the origins. Dan Laustsen's cinematography successfully captures the eerie atmosphere of the gorge. I almost knew what to expect from such a brilliant cinematographer who worked with Guillermo del Toro in his many movies, plus the horror classic "Silent Hill" of course. The original score and the songs chosen for soundtrack were also great for an action movie like this one. I am giving this movie 8+ only with the expectation for the lead characters return with a future installment and a totally new story. These two could for example become a free-lance team and continue exploring secret test sites and conspiracy theories all over the world. Hear me out Mr Derrickson... Those who will love this movie, will also definitely want more.
If you're looking for a film that epitomizes bad acting, a nonsensical script, and an overindulgence in uncomfortable, borderline repulsive sexual themes, Baby Girl is the perfect example. This so-called "sexual drama" is nothing more than a confused mess trying to pass off shocking content as meaningful storytelling. The movie also has a very disturbing way of narrative structure, putting such awkward visuals back to back. First and foremost, the acting is atrocious, I don't even want to remember Nicole Kidman and Antonio Banderas has been a part of this steaming pile of garbage. Their performances felt so forced, wooden, and at times completely nonsensical. The dialogues are also so unnatural and empty.
The movie is simply about a powerful business woman who has a sexual paraphilia of submission but in a very ridiculous way. Instead of delivering a compelling story, the actors stumble through a ridiculous script that is more concerned with pushing boundaries than telling a meaningful narrative. The movie is filled with one absurd scene after another, each more unnecessary and outrageous than the last. The film seems obsessed with including as many disturbing and tasteless elements as possible: bizarre sexual games, uncomfortable and unconvincimg age-gap relationship, and behavior that is completely out of place for women of a certain age, power and reputation. Instead of being an exploration of human desires, it just comes across as grotesque movie that leads only to one final faked orgasm scene.
The way the film portrays women is another major issue. It glorifies reckless behavior, promotes abuse under the guise of "empowerment," and seems to celebrate decisions that go against basic moral and family values. The concept of "women's power" here is distorted into something unrecognizable, as the manager woman character engage in degrading acts with an intern. Sex outside marriage and forgiveness is normalized to an absurd degree, and worst of all, the couple supposedly learns their lesson from this huge mess in the end.
The film throws in an unnecessary lesbian subplot, an underage sexual theme and even a hint of animal abuse just for the sake of being "edgy". And let's not forget all the disturbing relationships between co-workers etc. The film goes all in on the trend of older women getting seduced by younger men, pushing the boundaries of what is acceptable and turning everything into a crude spectacle. The way the film revels in sexual fantasies that are out of place and inappropriate makes it clear that it's more about indulgence than storytelling. Fortunately we don't see much of the nudity or obscenity, however the movie keeps hinting on everything that can be considered as totally disgusting. It's clear the director and the writer of this mess, Halina Reijn wanted controversy over quality, just like her entire filmography based on similar themes. In the end, Baby Girl is a a cinematic train wreck. It is not even empowering for women, or thought-provoking, or even entertaining-just a disturbing mess of bad decisions strung together by terrible acting and a weak plot. If you're looking for a film with some depth and emotion, avoid this at all costs.
The movie is simply about a powerful business woman who has a sexual paraphilia of submission but in a very ridiculous way. Instead of delivering a compelling story, the actors stumble through a ridiculous script that is more concerned with pushing boundaries than telling a meaningful narrative. The movie is filled with one absurd scene after another, each more unnecessary and outrageous than the last. The film seems obsessed with including as many disturbing and tasteless elements as possible: bizarre sexual games, uncomfortable and unconvincimg age-gap relationship, and behavior that is completely out of place for women of a certain age, power and reputation. Instead of being an exploration of human desires, it just comes across as grotesque movie that leads only to one final faked orgasm scene.
The way the film portrays women is another major issue. It glorifies reckless behavior, promotes abuse under the guise of "empowerment," and seems to celebrate decisions that go against basic moral and family values. The concept of "women's power" here is distorted into something unrecognizable, as the manager woman character engage in degrading acts with an intern. Sex outside marriage and forgiveness is normalized to an absurd degree, and worst of all, the couple supposedly learns their lesson from this huge mess in the end.
The film throws in an unnecessary lesbian subplot, an underage sexual theme and even a hint of animal abuse just for the sake of being "edgy". And let's not forget all the disturbing relationships between co-workers etc. The film goes all in on the trend of older women getting seduced by younger men, pushing the boundaries of what is acceptable and turning everything into a crude spectacle. The way the film revels in sexual fantasies that are out of place and inappropriate makes it clear that it's more about indulgence than storytelling. Fortunately we don't see much of the nudity or obscenity, however the movie keeps hinting on everything that can be considered as totally disgusting. It's clear the director and the writer of this mess, Halina Reijn wanted controversy over quality, just like her entire filmography based on similar themes. In the end, Baby Girl is a a cinematic train wreck. It is not even empowering for women, or thought-provoking, or even entertaining-just a disturbing mess of bad decisions strung together by terrible acting and a weak plot. If you're looking for a film with some depth and emotion, avoid this at all costs.
After watching The Damned (2024), directed by Thordur Palsson, I can finally say I've found my favorite horror movie of the year. This supernatural, atmospheric horror drama-set in a remote 19th-century Icelandic fishing village-deserves far more praise and recognition than the overhyped Nosferatu, which ultimately falls flat as a dull disappointment.
What sets The Damned apart is its originality. Rather than relying on elaborate costumes or flashy effects, it crafts an immersive and unsettling period piece through storytelling, cinematography, and an eerie sense of doom. Odessa Young delivers a deeply affecting performance as Eva, a young widow burdened with unbearable guilt and fear. From the tragic opening sequence that sets everything in motion to the film's haunting climax, you can almost feel every ounce of her anguish, desperation, and internal conflict. The supporting cast-Siobhan Finneran, Rory McCann, and Joe Cole-are equally well-cast, adding depth to the unfolding horror.
One of the film's most compelling elements is the way folklore and superstition intertwine with the narrative. The eerie story told early on by Siobhan Finneran's character adds an extra layer of dread-none of the characters realize they are about to become the subjects of another horror tale, whispered years later. That touch was brilliant.
The film's chilling atmosphere is amplified by the brutal forces of nature, the growing fear among the crew, and the sheer isolation of their surroundings. Eli Arenson's cinematography is breathtaking, with several scenes looking like they belong on a gothic movie poster or an oil painting. The haunting score, also by Arenson, further heightens the film's immersive effect. The chosen filming location itself exudes an almost supernatural unease-like stepping into a place that's long been cursed.
Light and darkness are used masterfully to create paranoia (or pareidolia) and a sense of creeping terror. At times, you feel as if you're one of the ill-fated crew members, seeing things in the shadows and teetering on the edge of sanity. Though it's a slow-burn horror, every second is gripping, and while there aren't many traditional jump scares, there are plenty of jaw-dropping moments. The scene with the eels and the crow, in particular, were unforgettable(!).
As for the ending, while somewhat predictable, it delivers a final psychological gut-punch. It doesn't rely on a last-minute shock twist but instead stays true to the film's eerie, measured tone. Could it have gone for an even more shocking conclusion? Maybe. But The Damned isn't the kind of horror film that resorts to cheap scares, instead it thrives on atmosphere, dread, and emotional weight, making it all the more original.
I highly recommend this movie to horror fans who appreciate historical drama and folklore-infused horror. It's the perfect winter horror film-best watched on a snowy night with the lights low.
What sets The Damned apart is its originality. Rather than relying on elaborate costumes or flashy effects, it crafts an immersive and unsettling period piece through storytelling, cinematography, and an eerie sense of doom. Odessa Young delivers a deeply affecting performance as Eva, a young widow burdened with unbearable guilt and fear. From the tragic opening sequence that sets everything in motion to the film's haunting climax, you can almost feel every ounce of her anguish, desperation, and internal conflict. The supporting cast-Siobhan Finneran, Rory McCann, and Joe Cole-are equally well-cast, adding depth to the unfolding horror.
One of the film's most compelling elements is the way folklore and superstition intertwine with the narrative. The eerie story told early on by Siobhan Finneran's character adds an extra layer of dread-none of the characters realize they are about to become the subjects of another horror tale, whispered years later. That touch was brilliant.
The film's chilling atmosphere is amplified by the brutal forces of nature, the growing fear among the crew, and the sheer isolation of their surroundings. Eli Arenson's cinematography is breathtaking, with several scenes looking like they belong on a gothic movie poster or an oil painting. The haunting score, also by Arenson, further heightens the film's immersive effect. The chosen filming location itself exudes an almost supernatural unease-like stepping into a place that's long been cursed.
Light and darkness are used masterfully to create paranoia (or pareidolia) and a sense of creeping terror. At times, you feel as if you're one of the ill-fated crew members, seeing things in the shadows and teetering on the edge of sanity. Though it's a slow-burn horror, every second is gripping, and while there aren't many traditional jump scares, there are plenty of jaw-dropping moments. The scene with the eels and the crow, in particular, were unforgettable(!).
As for the ending, while somewhat predictable, it delivers a final psychological gut-punch. It doesn't rely on a last-minute shock twist but instead stays true to the film's eerie, measured tone. Could it have gone for an even more shocking conclusion? Maybe. But The Damned isn't the kind of horror film that resorts to cheap scares, instead it thrives on atmosphere, dread, and emotional weight, making it all the more original.
I highly recommend this movie to horror fans who appreciate historical drama and folklore-infused horror. It's the perfect winter horror film-best watched on a snowy night with the lights low.