Irish Wish (2024) dir. Janeen Damian
From the insulting Irish accents to some of the worst styling I’ve see in recent cinema history, it’s no surprise that Irish Wish has come bottom of this month’s ranking. A Netflix romcom which hangs entirely on the back of Lindsay Lohan yet makes for a fun viewing with friends, particularly if you count the amount of times one of the male leads’ name is mentioned in full (Paul Kennedy you are truly the only part of this I remember). It’s lovely to see Lindsay return to mainstream culture but I think I’d use my wish on ensuring she never has to do another one of these Netflix movies again.
Split (2016) dir. M. Night Shyamalan
The first of three Shyamalan films I watched this month and my least favourite of his I’ve seen so far. Split is synonymous with James McAvoy’s performance as Kevin, a man diagnosed with Dissociative Identity Disorder (DID) who lives as 23 different ‘alters’ with their own distinctive personalities and accents. Following the girls who have been kidnapped by Dennis, one of Kevin’s alters, we start to learn about his end goal. This film definitely has strong moments but if the questionable portrayal of mental illness didn't ruin it, the classic Shyamalan twist unfortunately did for me.
Zodiac (2007) dir. David Fincher
Zodiac is obviously a great suspense thriller, no one needs me to tell them that. From the performances to the sheer dread moulded by the set design and lighting, every aspect of this film works. Based around the unsolved mystery of the Zodiac Killer in 1970s San Fransisco, we follow those orbiting the crimes through an examination of obsession and paranoia. Fincher is a master at curating the most atmospheric films, but this one was just a little too drawn out and slow for my personal taste.
Requiem for a Dream (2000) dir. Darren Aronofsky
Speaking of dread, nothing can possibly challenge Requiem for a Dream for that title. This was one of the first films I watched this month yet it is the one that has stayed with me the most. Although it is not characterised as a horror (it absolutely should be), the films I find the hardest to watch are those that deal with everyday traumas. It’s insane that this is a debut feature and even more insane that Ellen Burstyn didn’t win an Academy Award for her performance. Those last shots will stay with me forever.
Trap (2024) dir. M. Night Shyamalan
Hear me out……this is was an absolute blast! I was looking for something to do last week and found myself on a solo cinema trip to see, what I assumed was going to be, ‘Silence of the Lambs at a Taylor Swift concert’. Instead I spent the next 105 minutes trying to hold back laughter in a near empty screening. Not one plot decision makes sense, no character acts like a normal person, and every single scene in the last 30 minutes feels like the final one. Yet Shyamalan’s direction feels so fresh in Trap compared to recent projects, I truly cannot wait to see what he does next.
Strangers on a Train (1951) dir. Alfred Hitchcock
Have I ever read a Patricia Highsmith novel? No. Do I absolutely adore every adaption of them? Yes! As the name suggests, this film follows two men who meet on a train and ‘agree’ to carry out a murder for one another. Not only does this feel like the perfect companion to Highsmith’s more well-known character Tom Ripley, but it also features the only sport that matters, tennis. It was no surprise to learn that Guadagnino was inspired by this film with one of the most iconic shots being recreated in 2024’s Challengers.
Unbreakable (2000) dir. M. Night Shyamalan
Finally my favourite Shyamalan of the month! As a hater of superhero films I was apprehensive going into this but oh my god it is a disservice to this film to categorise it in the same way as Madame Web (2024). Unbreakable, at its heart, is about a boy believing in his dad. It’s a story of resilience, that just so happens to also feature a superhuman. The Shyamalan twist works so effectively, even with the direct reference to it earlier in the film. Bruce Willis and Samuel L. Jackson are obviously incredible but are matched throughout by Spencer Treat Clark in a superb supporting role.
Se7en (1995) dir. David Fincher
I found a copy of this for 20p at a car boot sale and I’d say that was a pretty good deal. This film is pure evil. Evil characters, evil crimes, evil lighting. Following two detectives as they hunt down a serial killer who has been committing crimes inspired by the seven deadly sins, not only does Fincher’s signature darkness work in this context, it excels. The performances are undeniably spectacular (despite who the actors are), and made the ending so impactful despite already knowing the infamous reveal.
Rear Window (1954) dir. Alfred Hitchcock
A film made purely for people who spent lockdown spying on their neighbours. James Stewart plays a photographer who is wheelchair bound during a sweaty summer in NYC. With the help of his partner Lisa (played by Grace Kelly with the most incredible mid-Atlantic accent I’ve ever heard) and his nurse Stella, the trio become invested in a possible murder in the opposite apartment. The sheer scale of this set and the choice from Hitchcock to film and direct exclusively from the photographer’s apartment is magnificent and makes the film feel so claustrophobic. A masterclass in filmmaking.
Lisa Frankenstein (2024) dir. Zelda Williams
Fun horror is sooo back!!! Lisa Frankenstein is quintessential campy 80s-inspired horror done so well. Directed by Zelda Williams, the daughter of comedy legend Robin Williams, we watch the beginning of a relationship between teenage outcast Lisa and her crush, a corpse who doesn’t speak. This film truly feels like a future cult classic à la Heathers (1989) and Rocky Horror (1975). Between Lisa and Chappell Roan, it’s going to be a big Halloween for curly redheads with bold eyeshadow.
Robot Dreams (2023) dir. Pablo Berger
My favourite first-watch of August. I like to make the most of my Mubi subscription and take advantage of the new films added each month but rarely know anything about them. The animated feature follows Dog who purchases Robot, an android friend who lives with him in his New York apartment in the mid 80s. Following the pair over their summer together, they learn from each other and share genuinely beautiful moments together. Despite the lack of dialogue in the film, I shed tears at the end of it. If the exploration of ‘inyeon’ in media like Past Lives (2023) and La La Land (2016) has previously made you sob, Robot Dreams is made for you. I will never hear September by Earth, Wind & Fire ever again without thinking of these two.
Little Shop of Horrors (1986) dir. Frank Oz
And finally, my favourite film of the month……a rewatch of an all time favourite at the cinema. As a Picturehouse member I was thrilled to see that Little Shop of Horrors was part of their 80s August programme. Not even the group yapping away throughout the entire screening could ruin seeing Steve Martin’s dentistry musical number on the big screen. I adore this film. The music, the practical effects, the acting choices, everything is perfect to me. However what was unexpected was the version we watched was the original director’s cut with the alternate ending which was axed for decades before being recently restored. Although I have to stand by my favourite couple getting their happy ending in the theatrical cut, seeing the original ending in a room of people not expecting it was a very fun experience.
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