"KEEP BUSTIN'."

Posts Tagged ‘A24’

X

Thursday, March 31st, 2022

X is the new horror picture from writer/director Ti West, his first movie since the 2016 western IN A VALLEY OF VIOLENCE. The fastest way I know to describe it is “what if THE TEXAS CHAIN SAW MASSACRE was BOOGIE NIGHTS?” It takes place in 1979 and it’s about a group of people from Houston who decide to make their first porno movie, and rent a small house on a remote farm to film it. In the process, their strong sexual content, graphic nudity, drug use and language is met with strong bloody violence and gore.

That’s from the actual MPAA rating, but it’s misleading. Though X is hardly tame, it doesn’t strike me as particularly extreme either. You gotta say this in hushed tones in these parts, but this is West’s first collaboration with A24, and I would consider him one of the pioneers of the style of 21st century slow burn horror that has become one of that company’s trademarks. I enjoyed his movies THE HOUSE OF THE DEVIL and THE INNKEEPERS, from 2009 and 2011, before A24 existed. This is in a similar vein, but being a slasher movie it’s a little more generous in its pay off, so I enjoyed it too. (read the rest of this shit…)

The Green Knight vs. Sword of the Valiant

Monday, September 27th, 2021

THE GREEN KNIGHT was one of my adventures in mostly-empty Covid-era theater-going, but I’m always working on a million things at once and I didn’t finish the review until after it’s left most theaters and most people’s minds. And yet I continue, undaunted. (It’s on VOD now and comes to disc October 12th.)

It’s the latest from director David Lowery (PETE’S DRAGON, A GHOST STORY, THE OLD MAN & THE GUN), and it’s his weird arty take on a fantasy knight movie, released, as you would imagine, by A24. I enjoyed this at a mostly empty matinee, just as I did with pre-pandemic movies like 300: RISE OF AN EMPIRE, HERCULES and KING ARTHUR: LEGEND OF THE SWORD. But I don’t consider this to be in that same genre I call “fantasy sword guy movies,” and not just because he uses an ax. It’s different because the whole appeal of it is different. It’s more about deconstructing the things we expect from that genre, or at least finding a different angle on them, than reveling in them.

It’s based on an anonymous 14th-century poem called Sir Gawain and the Green Knight. And I tend to like movies based on anonymous poems, judging by the only two I can think of, BEOWULF and BEOWULF. I never heard of this one, but it has been adapted before, including as SWORD OF THE VALIANT, which I went ahead and watched afterward. And I certainly didn’t get this from the movie, but Sir Gawain (Dev Patel, CHAPPIE) is one of the members of King Arthur (Sean Harris, PROMETHEUS)’s Round Table. (read the rest of this shit…)

Good Time

Tuesday, November 12th, 2019

GOOD TIME is a hell of a movie from Josh and Benny Safdie, thirtysomething New York indie directors I never heard of until the flashy A24 trailer acted like they were a household name. Sure enough it’s their fifth feature film (including one documentary) but this one got a little more attention for starring Robert Pattinson, the guy from the Cronenberg movies. He plays Connie Nikas, a New York City dirtbag who storms into a doctor’s office to get his developmentally disabled brother Nick (Benny Safdie) and bring him to help rob a bank. They get away at first but most of the money is ruined by a dye pack and Nick gets arrested. The movie is about Connie running around town all night trying to find $10,000 more dollars to pay Nick’s bail.

It’s a stylish epic of dirt-baggery – Meth Age Michael Mann. An intimate look at a shitty dude doing idiotic things with fevered lighting, gritty real locations, some raw non-professional actors and one of the most legit retro-synth scores I’ve heard, a Tangerine Dream-esque thing by an electronic artist Oneohtrix Point Never, which is a name that I totally understand and can say easily, on account of how young and with it I am. And just so you know I didn’t have to ask anybody what vaporwave was and if I had I totally would’ve understood what Wikipedia meant about it being “built upon the experimental and ironic tendencies of genres such as chillwave and hypnagogic pop.” (read the rest of this shit…)