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JakeSWITCH (445)


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My review of "Buñuel in the Labyrinth of the Turtles": an animated tribute My review of "Dosed": an eye-popping look at psychotropic medicine My review of "Mothers' Instinct": an old-school psychological thriller My review of "The Mute": a violent look at faith and religion My review of "Aiyai: Wrathful Soul": unfocused Aussie horror My review of "Dark Waters": a frightening and infuriating look at corporate greed My review of "Citizen K": essential viewing for anyone curious about post-Soviet Union Russia My review of "Jallikattu": visually stunning and absurdly funny My review of "Saint Maud": religious fervour and psychological horror This film's artificially inflated rating on IMDb View all posts >


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Thanks! [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] 'The Call of the Wild' was written by Jack London in 1903. Times and attitudes were vastly different to 2020. I love London's books, but I agree that it's almost impossible to film page-for-page adaptions of them today, considering the depictions of race, animal cruelty, etc. To be honest, I'm okay with that. I can read the books whenever I want to - I don't need a film to validate the text to me. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] Universal's monsters come from the ideas and stories of authors and screenwriters such as Horace Walpole, Matthew G. Lewis, Bram Stoker, H.G. Wells and Mary Shelley – and many others – who tapped into something pervasive, giving names and bodies to a universal emotion: fear. The fictional monsters correspond to a deep seated anxiety about progress, the future and the human ability to achieve anything like control over the world. For example, "Dracula" comes out of a pagan world and offers an alternative to ordinary Christianity with his promise of a blood feast that will confer immortality. Like a Nietzschean superman, he represents the fear that the ordinary consolations of religion are bankrupt and that the only answer to the chaos of modern life is the securing of power. Mary Shelley’s "Frankenstein" delved into the concept of life, reflecting fears born of the various scientific experiments being done on cadavers at the time. Science of the era was reflected in the increasing obsession and madness of her protagonist, Victor Frankenstein. Robert Louis Stevenson’s "The Strange Case of Dr. Jekyll and Mr. Hyde" brought us to question the dueling nature of "good" and "evil," as well as the beast that sleeps within us all. Each of these stories, as well as many other horror works around the 1800s, can serve as a mirror to the concerns of society. The fact that these works became so popular when they did, to the point of creating a lasting genre, indicates that they resonated with people’s fears and interests in a way that folklore didn’t. With the rise of social media, fears and fads and fancies race instantly through entire populations. Our fears morph with the times, but they're ever-present - so it seems monsters won't be dying off any time soon, either. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] Your welcome :) To be honest, I doubt I could explain the entire film, either - it's an odd one. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] [quote]That was one of my biggest complaints about this movie... the villains were lame, Rose possibly the lamest of them. Her sidekick Crow(?) and the blonde girl with the power to 'push' were more intriguing, but they also get beat pretty easily by Danny and the girl.[/quote] Mike Flanagan beefed the villains up substantially from the novel, where they never kill any of Danny's allies - King makes a point of saying that the True Knot are weak combatants because they are accustomed to targeting defenseless children. Flanagan also made them more loathsome via the scene where they feed from the torture of the "baseball boy" and the entire climactic duel with Rose at the Overlook Hotel sold her as psychic powerhouse much more effectively than in King's book. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] Thanks! :) I love unresolved, open-to-interpretation and downbeat endings, too ... they leave your mind whirling when a film ends. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] It is. It seems like J.D. Dillard's next project is going to be 'Star Wars' film, so I guess 'Sweetheart' had a few fans! [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] It's an absurdist satire - the film doesn't really strive to depict realism. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] I felt the same way about 'Okja', which became a little too nasty for my tastes. Have you seen any of Bong Joon-Ho's other films? All of them mix comedy together with dark themes to heighten the impact of the social commentary and character arcs. [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] Thank you :) [b]-------------------------------------------- You can read all of my latest film reviews here: [url]https://www.maketheswitch.com.au/about/Jake[/url][/b] View all replies >