Yes, the effects are mesmerizing, the subject matter is terrifying, but the success of The Exorcist lies with young Linda Blair playing innocent pre-teen, Regan MacNeil.
Barbara Crampton’s career resurrection is simply amazing to behold. Not only is she staying true to the genre that helped to make her a cult icon, she’s breaking new dramatic ground and crafting performances that are some of the best of her career.
Fury Road keeps to several themes found in The Road Warrior, including survival, the fight against would-be tyrants, the need for family, and the dangers of ecological collapse.
When Dee Wallace was asked what it was like to work with kids and dogs, she laughed and responded, “I don’t think I would have had a career if it weren’t for kids and dogs!”
Ah, here’s that feeling again. That feeling that usually comes in the first third of a season (here not until after the halfway point) of things clicking into place.
And that is what fascinates me about this archetype; the fearless woman who can outsmart a serial killer and subvert gender roles in 90 minutes or less.
A promising opening, an intriguing spin on an alternate version of recent history, a classy-looking production -- but it all crumbles no thanks to abysmal characterization and storytelling decisions.
The Final Chapter uses a darker palate with heavier shadows, more jump scares (seriously, a shit ton of jump scares), and a more frenetic editing style that usually undercuts the impact of the action scenes.
Writer/director Richard Powell takes a surreal approach to the story, clearly influenced by the kind of body-horror featured in Cronenberg’s most seminal work.
