Now I will admit, despite being in the ideal target demographic, I never got into Superwholock when I was younger. For any unaware of this unfortunate phenomenon, Superwholock is the fan base created for fans of the shows Supernatural, Dr. Who, and Sherlock. All my friends in middle school seemed to be enamored in these shows, but I somehow dodged the angsty content and media that was perfect for me at this stage in my life. I really should have had the classic “emo” stage. I cannot elaborate on why I did not. However, the internet has brought to my attention that there is a new age of “Superwholock,” and I honestly cannot disagree with them. This new set of shows feels very reminiscent of the themes that enamored many back in the day and overall encapsulates the same feral energy found on Tumblr at its peak when those shows were still airing. The new age of “Superwholock” has presented itself in the following programs: Good Omens, What We Do in the Shadows, and Our Flag Means Death. I can say that while I may not have given in to the first wave of this occurrence, the second time around I am not so lucky. These three shows all come together in such a way that gives a sense of progression in this age, instead of the frantic grasping for scraps that people had to engage in during the age of Superwholock. While many people rallied around shows like Supernatural, Dr. Who, and Sherlock due to their potential for representation of more inclusive relationships and people’s ability to relate to their characters, people now rally behind shows like Good Omens, What We Do in the Shadows, and Our Flag Means Death due to their explicit representation offered in an age that is significantly more accepting.Continue reading
“The Exorcist: Lighting the Darkness” a film analysis by Chris J.Patiño
There are many ways to paint a picture of fear. For some filmmakers, it’s all in the monster, in showcasing the boogeyman at the center of the story. Others rely on suggestion and mind games to get inside peoples’ heads. Whichever way you cut, it’s all theatricality, and presentation goes a long way into how an audience will react. The Exorcist stands as one of the greatest horror films because of the filmmakers’ mastery over the language of film. Perhaps the film’s strongest element is its depiction of demonic possession. Director William Friedkin’s grounded documentary approach lends the film a sense of realism that is uncommon within the genre. He pays careful attention to making sure the world and the people in it feel authentic and believable. But that does not mean the film lacks artistry. As it happens, it’s the combination of the real with the imaginary that sells the film’s realistic vibe and accentuates the horror of it all. Of the filmmakers’ many technical wizardries, the cinematography, specifically the lighting, captures the character’s internal landscapes of fear as they contend with great evil. It lends to the film’s overall themes of faith and uncertainty. In The Exorcist, expressionistic lighting is tied directly to the human psyche, portraying the inner turmoil of doubt in the face of evil.
**Warning: spoilers ahead**
Welcome to yet another dinner party from hell, which could very well be the tagline for Karyn Kusama’s 2015 film The Invitation. This film is the definition of a slow burn because whenever you think something violent is about to happen, it pivots in a new direction. However, this doesn’t mean it’s void of tension as it’s always there simmering beneath the surface. Every sound from the clattering of wine glasses to the constant beeping of a car engine is articulated to the point where audiences are left waiting for a release that will never come (until the last 30 minutes of the film that is).
An Invitation to Remember
**Warning: spoilers ahead**
Karyn Kusama’s 2015 film The Invitation is worth watching but not for the reasons you might think. It is best to approach the film without grand expectations and with the realization that it is not your typical horror movie. It is better described as a psychological mystery/drama.
The general narrative structure is straight-forward at best and highly predictable. The mystery of the invitation is revealed early on, despite the attempt of hiding it with the uncomfortable atmosphere of the dinner party. Still, there are some redeeming qualities that make this film worth watching at least once.
I’m never going to a dinner party in the Hollywood Hills, no matter how good looking the people are.
Subdued, meticulous and distinctive in tone, The Invitation is a film whose horrors lie in human behavior rather than supernatural forces. Director Karyn Kusama taps into the primal nature of paranoia and suspicion to craft an engrossing psychological thriller that will do everything it can to spike your anxiety up into the stratosphere. The film also serves as a poignant study of grief and the lengths a person will go to free themselves of its pain.
The strength of The Invitation comes from its unpredictability: it keeps the audience second-guessing every visual cue and character action. The sense of unease stems from dissonance among the characters. Their situation continually gets weirder as the film goes along, but the nature of social etiquette keeps everyone quiet. The filmmakers keenly exploit people’s innate impulse to side-step public displays of strangeness to conjure up an excellent sense of sustained tension. The film is a series of tensions and diffusions. Carefully placed diversions keep us and protagonist Will (a tour-de-force Logan Marshall-Green) on edge, constantly rethinking and reanalyzing the situation.
2018 certainly was a year, wasn’t it? I graduated from college, even landed a job just a handful of months after, and in between dreading school, work, and the awful act of applying for work, I still found an unreasonable amount of time to go to the movies. There was originally a sizable list of contenders vowing for inclusion on this list, and while I’d love to talk about each and every one of them, I unfortunately had to slice this thing down to the resulting 15 you see below. There are so many movies I enjoyed this year, and even more that I missed out on seeing completely (perhaps your personal favorites belong in those categories!). And while I enjoyed a large swath of movies this year, it wasn’t until the very end of the year when I found that one particularly standout entry that I instantly knew would top my list. What film is that? Read on, friend, and find out for yourself.
- Mandy – Dir. Panos Cosmatos
- A Quiet Place – Dir. John Krasinski
- Blockers – Dir. Kay Cannon
- American Animals – Dir. Bart Layton
- Eighth Grade – Dir. Bo Burnham
Really some great films on that list there, but 10 others managed to be just that much better in 2018. So, with that out of the way, we can finally get to what you’ve all been waiting for: My Certified Top 10 Films of 2018. I think you’ll like the list, and I especially hope you may find some new movies to watch. Happy viewing, everyone!
Found below are three reviews of Richard Kelly’s 2001 film, Donnie Darko, written by Lewis University students Hannah Cross, Megan O’Brien, and Joseph Pryzdia.
Donnie Darko, directed by Richard Kelly, sends its audience down the rabbit hole (almost literally) into a twisted idea of time travel. The movie is suspenseful and brilliant as it alludes to other great works, notably: Alice in Wonderland. Donnie is followed by a white rabbit, which is the basis for his hallucinations and visions throughout the film. This movie’s genre lies somewhere in the spectrum of mystery, sci-fi, and teen angst in the John Waters tradition. The audience can easily relate to the feelings that Donnie has about being the outcast, not only in school but also in his family. Its satirical elements bring out some of the darker and dry humor in the movie. The canted cinematography and jagged editing of this film add to the eerie, chaotic, and unsettling feelings to the audience. While the majority of scenes are bright and colorful, every scene with the rabbit becomes visibly dark and muted by design to foreshadow the impending dark side of the film. Continue reading
Would it be a cop-out if I were to concede and say that there were simply too many exceptional films this past year? So many, in fact, that even ranking a top 10 is quite near impossible for me? Because in forming this list (which you’re likely eagerly scrolling through to the bottom only to see my number one choice), I’ve had to not only sacrifice a number of extraordinary films, but have also infinitely gone back and forth on where each of these movies fit into the order. Really, in a year with less competition, each of my top six choices could have easily sat atop a year-end list at the number one spot.
As always, I wasn’t able to catch every film that I wanted to — although I did make it out to theaters over 50 times this past year. And it’s because of that that I can safely say that 2017 was the best year for film in recent memory; I was consistently amazed week after week by the incredible work reaching into theaters and beyond. Before we get to the official list, I have included a handful of honorable mentions as well.
- Logan – Dir. James Mangold
- It Comes At Night – Dir. Trey Edward Shults
- Three Billboards Outside Ebbing, Missouri – Dir. Martin McDonagh
- The Disaster Artist – Dir. James Franco
- I, Tonya – Dir. Craig Gillespie
Now that those good (but just not good enough) films are out of the way, below you will find what I consider 2017’s absolute greatest output in terms of motion pictures:
Don’t even try to tell me that 2016 was a bad year for film. I found myself falling in love with new films week after week from the beginning of the year until its final days. Be it the year’s biggest blockbusters, the indie-est of horror flicks, or those found in between, the output from filmmakers in 2016 was absolutely remarkable.
I ended up condensing this down from a lengthy list of 35, and it wasn’t easy. Actually, ranking these films could’ve been an even harder task, but I sadly didn’t get to see every film I wanted to in 2016 — the most unfortunate among them being Moonlight, Manchester by the Sea, and Jackie, which I’m sure would have all been strong contenders. And before I get to the actual list, below you will find a number of standouts that just barely missed the cut for the top 10.
- Captain America: Civil War – Dir. Anthony Russo, Joe Russo (streaming on Netflix)
- The Witch – Dir. Robert Eggers (streaming on Amazon Prime)
- Zootopia – Dir. Byron Howard, Rich Moore, Jared Bush (streaming on Netflix)
- Hacksaw Ridge – Dir. Mel Gibson
- 10 Cloverfield Lane – Dir. Dan Trachtenberg
Like I said before, there were plenty of films I loved this year. Here are the best of the best:
[Spoilers for The Green Inferno]
After being in development Hell, The Green Inferno finally came out this year. This is a typical Eli Roth film, considering it is a Torture Horror film. It is very similar to his most popular work, Hostel. While this may seem like just another torture porn film, there was actually a lot of interesting things that lead up to this film’s release.
The Green Inferno was filmed in 2012 and was scheduled to be released in early 2014. Due to financial troubles, the film’s release was delayed until this year. Since the film centered around an indigenous tribe, Eli Roth wanted to film with an authentic tribe. They found a tribe, but they were so secluded that the production team and the government had to explain to them what a movie even was. Roth was using the film Cannibal Holocaust as the main inspiration for his film, and that’s the film that they screened for the tribe.