I watched the 2023 Canadian film RED ROOMS (Les chambres rouges) on Shudder, but come to think of it it’s not exactly a horror movie. It’s kind of more harsh than that. It’ an extremely unsettling character drama, maybe a thriller, about the trial of a man accused of horrific child murders live on webcam. We thankfully don’t have to see any of the violence, but the images created in our mind are worse, described with a true crime bluntness rather than genre flair. I would not say this is a fun movie.
It takes its sweet time rolling out what it will be about, or even what form it will take. One of the first scenes is a long unbroken shot of the judge’s introduction and the opening statements from both sides. It goes on long enough that I genuinely started to think the whole movie would be the trial – a new gimmicky format to put alongside mockumentary, found footage and screen time. A story told through testimony.
That’s not actually what it is, and even before it breaks we can see that the focus is on one of the court room observers, Kelly-Anne (Juliette Gariépy, BOOST). The camera rotates around but keeps coming back to her reactions, and what she’s looking at in the room. Later we learn that she sleeps on the street every morning to get a good place in line, like it’s the first showing of THE PHANTOM MENACE, or a Taylor Swift concert. When reporters try to interview her leaving she shoos them away, though another observer, Clémentine (Laurie Babin, THE LITTLE GIRL WHO WAS TOO FOND OF MATCHES) is happy to tell them about all the conspiracies and injustices against poor Ludovic Chevalier (Maxwell McCabe-Lokos, LAND OF THE DEAD), who has kind eyes, she says. (To me he looks like a creep, but I only know him in the context of wearing an orange jumpsuit behind plexiglass examining his fingernails while people accuse him of atrocities.) (read the rest of this shit…)
FLOW (Straume) is another one of those animated features I ask for sometimes, the type that respects the medium enough to do something one-of-a-kind instead of just making up some cartoon guys and grafting them onto one of the handful of available formulas. This one is from Latvia but there’s no dubbed vs. subtitled issue because (hey, kinda like 
I checked around, and unless somebody’s lying to me it seems nobody asked for there to be a straight-to-Paramount+ prequel to 
BETTER MAN is a musical biopic of Robbie Williams that came out last week, but 
The original 2022 Danish film 
THE THICKET is a new western that played a few theaters last year and now is on Tubi (who have their name on the credits). I was aware of it because it’s based on a book by Joe R. Lansdale – I don’t know the book, but his name will usually draw my attention. That said, I’m always wary of an indie western in this day and age. Maybe I’m generalizing, but most of them I’ve come across just don’t cut it. I put this one on, though, and I immediately thought oh shit, this is a real movie.
ROBOT DREAMS is a lovely and lyrical 2023 animated film from Spain. It has no dialogue, but English signage because it’s set in New York City. It’s some time in the ‘80s and there are no humans, only animals living like humans (in apartments, wearing clothes, having jobs). Nothing too deep, just a cartooning conceit we can easily accept, with the occasional joke like when the main character Dog is reading Pet Sematary and we have to wonder what the hell that book is in this world. The animals seem to have achieved all the same things as human civilization: the Twin Towers, pizza delivery, ALF, “September” by Earth, Wind & Fire, you name it.
After seeing 
If Stephen Norrington had only ever been a special effects guy he still would’ve made a mark. He worked under Dick Smith, Rick Baker, Stan Winston and Jim Henson. He did the Grand High Witch makeup in THE WITCHES, and designed creatures for Jim Henson’s The Storyteller. He played the Gump in 
THE WILD ROBOT is this year’s feature from DreamWorks Animation, and I’m not sure I would’ve guessed that without the logo. It’s a funny movie but not a smart alecky one, not a child of SHREK. Based on a 2016 young readers book by Peter Brown (first in a trilogy), it’s a simple, sweet tale with an elegant premise: a shipment of mass-manufactured helper robots crashes in the wilderness, one of them survives, accidentally imprints on an orphaned gosling runt and, since her programming requires her to complete all tasks, she becomes convinced that she must teach the goose to swim and fly before migration time in the winter. So there’s a goal to work toward and an inevitable sadness if it’s ever achieved. Good drama. 
