**By: Louisa Moore / www.ScreenZealots.com**
_This film was screened at the Toronto International Film Festival_
Writer and director Martin McDonagh is no stranger to creating stories that find humor in darkness. In fact, it’s arguably what he does best. With his latest film “The Banshees of Inisherin,” McDonagh captures the sadness of a breakup between two longtime friends with his signature darkly comedic, cynical tone. It’s an emotional character study about loneliness and isolation that expertly blends humor and cruelty, and it’s one of my favorite films so far this year.
Set on a fictional remote island during the Irish Civil War of 1922, the film tells the story of buddies Pádraic (Colin Farrell) and Colm (Brendan Gleeson), two men who find themselves at an impasse. It all starts one day when Colm unexpectedly and abruptly decides to end their friendship, offering no explanation and leaving his former pal stunned and saddened. With the help of his sister Siobhán (Kerry Condon) and the troubled islander Dominic (Barry Keoghan), Pádraic plans to do whatever it takes to repair the estranged relationship. His repeated efforts to reconcile annoy Colm to the point that he delivers a shocking ultimatum, which in turn escalates the petty feud to an alarming standoff that could have violent consequences.
Working from an outline of a sad breakup, McDonagh’s script flows with a natural rhythm that’s brimming with sharp wit and wry, dark humor. This isn’t a complex narrative, but the dialogue is impassioned and poignant with a genuine understanding of the human condition. McDonagh’s writing is like no other, with a natural talent that’s enviable. The script plays directly to the specific strengths of his cast, too.
Featuring Oscar-caliber performances, Gleeson and Farrell strike the perfect harmony as Colm and Pádraic. Their rapport is natural and relaxed, and there’s a comfortable feeling between the two actors which no doubt stems from being reunited with McDonagh. This trio should continue to make movies together because something magical happens when they do. Condon and Keoghan are also excellent in this story of conflicts, as Siobhán grapples with the realization that she may risk dying from an unhappy and unfulfilled life if she continues resisting her her urge to flee, and Dominic must deal with the mental suffering of being worn down by his abusive policeman father.
The strongest supporting turns come from the scene-stealing animal actors, who represent loyalty and unconditional friendship in a story that’s peppered with a dark undercurrent. Even as the humans around them struggle with their worlds falling apart (and a civil war raging nearby), their equine and canine companions keep them grounded. One of the most memorable scenes features a touching moment between a miniature donkey and a horse, and it is one that absolutely destroyed me. It’s moments like these that add up to a fiercely affective film that is adept at delivering a highly emotional experience to the audience.
Not only is McDonagh an effective writer, but he is also a talented director with a knack for capturing and creating a mood. Working in tandem with his cinematographer Ben Davis, the film is filled with stunning photography and astonishingly gorgeous scenery of coastal Ireland. These desolate landscapes lend a natural beauty that in turn creates a strong sense of place, providing the perfect backdrop for the story.
“The Banshees of Inisherin” is an example of that increasingly rare instance where a film fully and completely achieves its desired effect. Backed by two of the finest performances of the year and a superbly written script, this is a piece of accomplished, outstanding filmmaking.

This is one of the most brilliant movies I've seen in a long time. I understand why some people might not fully appreciate the story (which reminds me of Aronofsky's Black Swan in that it's a painfully slow descent into Hell). I find this film as complex as a fine scotch, or a fine wine. The top note is, of course, the beautiful visuals created by Ben Davis. The acting all around is phenomenal. Farrell and Gleeson were, of course, nothing short of spectacular. The real surprise was the character created by Barry Keoghan. I couldn't help but be amazed by how real his character was. Although I was expecting the banshees to be like in the horror film I saw as a kid, I really appreciated the Shakespearean witch device. It was perfect in this context. The second note of flavor of this masterpiece is all about relationships in a closed community. If you ever lived in a condo, an association community or the like, you will recognize the day-to-day pettiness that everyone thinks is so important. A subtle addition to the complex layers of flavor is Burwell's perfect score. And the deep flavor of this movie? It is the parallel that the protagonists finally draw to the meaninglessness of the Civil War that rages on the mainland. If two people within a single tribe cannot make a peace, how is this poor world ever going to live?

The Banshees of Inisherin is a stellar film with fantastic cinematography, tremendous performances, and an intriguing plot that will stay with viewers long past the credits. The stories set up does a fantastic job at engaging the audience, we feel for Padraic, truly wanting to know why his lifelong friend would "ghost" him. This sense of despair soon leads to horror as the plot progresses, creating some uncomfortable moments for both our main character and the audience. Overall, there is just something about this movie that is able to hook me. I had many laughs mixed while feeling completely heartbroken for Padriac. It is a slow burn film, with not much action, but the performances and dialogue are able to carry this movie to completion, resulting in a very unique experience.
Score: 88%
Verdict: Excellent

I really did enjoy this film, but I can't say I am entirely sure what the point of it was...! Colin Farrell is "Pádraic", a man who routinely spends his days down the pub with his friend "Colm" (Brendan Gleeson) before returning home to their small dairy farm where he lives with his itchy-footed sister "Siobhan" (Kerry Condon). Out of the blue one day, his pal refuses to talk to him. He goes and sits elsewhere or outside their tiny pub. Nobody knows why. Confronting this head on, we discover that "Pádraic" is dull. He spends hours droning on about the contents of his donkey's manure and, well, poor old "Colm" has had enough. Indeed, so fed up is he, he swears to cut off one of his fingers - from his fiddle-playing hand - if his erstwhile buddy doesn't leave him alone. The consequences of this ostensibly trivial falling out soon spiral and that, to be fair, is where it stopped being a funny take on friendship and Irish rural life, and starts to become a bit darker and where I sort of got lost with the purpose (if there was one) or meaning of the tale. Meantime, the real star of the film - aside from the midget-donkey - is Barry Keoghan with his superbly honest portrayal of "Dominic". An outwardly simple lad who lives with his thuggish, policeman, father; who has the hots for "Siobhan"; a penchant for poteen and who provides much of the humour in this entertaining and quirky observational drama. The photography of this Irish island community is glorious and the sense of community - warts and all - is well captured by Martin McDonagh's pithy writing and simple direction. The two stars are on as good a form as I have ever seen them, with Gleeson using his sparing dialogue to full effect and Farrell conveying the evolving sensations of bemusement to anger convincingly too. It's a curious film, this, but I'd highly recommend it.

MORE SPOILER-FREE MINI-REVIEWS @ https://www.msbreviews.com/movie-reviews/other-films-watched-lff-2022
"The Banshees of Inisherin is a classic tragicomedy from Martin McDonagh: genuinely hilarious and deceptively inconsequential until it ceases to be.
Despite the expected tonal shift, the narrative follows an even darker path than expected, and the turning point is capable of leaving some viewers "lost" for a while. Nevertheless, the filmmaker delivers a brutal, shocking story about friendship and the importance of some alone time. Colin Farrell and Brendan Gleeson are absolutely brilliant, as are Kerry Condon and Barry Keoghan.
One of the most stunning films of the year - gorgeously shot by Ben Davis - in addition to being accompanied by a lovely yet haunting score (Carter Burwell)."
Rating: B+

The big eyes and the slightly cardboard-box style of animation is really quite engaging as we follow the tale of "Manolo". He's an excitable young man who finds himself torn between staying home and living the life his family want him to, and setting off and having some adventures of his own. It's the latter draw that prevails and after a trip to the museum with his friends, he is soon dealing with demons from within and without that challenge his very essence, his being - his soul, even. The story is steeped in history, in myth and in imagination and is colourfully and vividly delivered using a clever mix of dialogue, music and quite often just the richness of the imagery itself. Can this young man play games with those more experienced, malevolent, cunning and find the happiness he is looking for? Of course - there is jeopardy too - if he gets it wrong, then all humankind is going to suffer! There's even a gentle hint of a childish love triangle as the story builds to quite an entertaining - if predictable - denouement. It's a classy bit of cinema this, with plenty of strong characterisation, action, some darkness and just enough to keep the brain ticking over too. Cinema is best - it brings out the vivacity of the whole thing so much better.

I feel that Wrong Turn is an underrated and underappreciated horror movie. Yes, it’s bloody. Yes, the bad guys are inbred cannibals. But the cast is great, and the effects are also great for its time. You feel for these characters and their predicament.
PLOT
Five friends and a stranger, after a car crash, must survive in the woods while being hunted by inbred cannibals.
MY THOUGHTS
There’s roughly ten kills. I say roughly because “supposedly” two of the killers are killed, but since there are several sequels, we can assume they may have not died. The kills, the ones that are shown on screen, are bloody and good. Unfortunately there are a few that are shown off screen. I would say my favorite would have to be either Francine’s barbed wire death (to include the dismemberment later on) or Carly’s beheading.
The boring death would have to be either Evan’s, which is ear sliced off and Scott’s where he is just shot three times in the back with arrows. Neither were that interesting. I did feel bad for Scott since I actually like him. I could care less about Evan. He was annoying.
As far as acting goes, I think it was pretty decent. I found Eliza Dushku, Jeremy Sisto, Emmanuelle Chriqui, and Desmond Harrington did a good job with their characters, and I really felt for their characters.
Eliza Dushku (known for Soul Survivor, Buffy the Vampire Slayer, and Tru Calling) plays Jessie, a woman who recently ended a relationship. Her friends brought her out hiking to take her mind off of the breakup. Emmanuelle Chriqui (known for Crow: Wicked Prayer and Forever Knight) plays Carly, engaged to Scott, with wedding plans running through her head.
Jeremy Sisto (known for May, Nightmare and Dreamscapes, and Dead & Breakfast) plays Scott, Carly’s fiancee. And Desmond Harrington (known for The Hole, Taken, Ghost Ship, and the Neon Demon) plays Chris, the man late for a job interview who regrets taking a shortcut.
We start Wrong Turn with two college students rock climbing. When the young man gets to the top we hear what sounds like a struggle and then his body is thrown over the cliff. The girl’s rope is being pulled up so she cuts the rope and falls to the ground. She tries to get away, but is caught and killed off camera.
Next we meet Chris who is driving to what we assume is a job interview. He’s running late and there is a chemical spill on the road. He then decides to use a shortcut. He distracts himself and crashes into a jeep that is sitting on the side of the road. Here he meets 5 more people: Evan, Francine, Scott, Carly, and Jessie.
Jessie and her friends are on a hiking trip when they realize that their flat was caused by barbed wire that was purposely layed out in the road. Chris, Jessie, Carly, and Scott take off to find help, leaving Evan and Francine with the vehicles.
After messing around for a bit, Evan hears a noise and goes to investigate. After realizing he’s missing, Francine goes and looks for him. She doesn’t find him but she finds his shoe and his severed ear. She screams and tries to run off but is quickly captured and a barbed wire is stretched over her mouth and pulled. This causes her mouth to tear open, killing her.
Meanwhile the other four find a cabin and go in to investigate. They find various items, old and new, as well as body parts. Before they can leave, three people show up, so they hide. Chris and Jessie hide under a bed and Carly and Scott hide in a room with junk in it.
The three carry Carly’s body in and put it on the table and start dismembering and eating her! Their friends are horrified but are quiet until the three fall asleep. As they escape, Chris tries to distract the killers and they shoot him. So then Scott decides to distract the inbreds so Jessie and Carly can get Chris and steal the killer’s truck. They drive down a path hoping to find Scott. They see him and as he’s running to the truck the killers shoot him with three arrows, killing him.
The three drive off as the killers take Scotts body with them. They keep driving and find a ranger’s station/tower. They climb it, hoping for a radio and they find one but nobody answers when they call for help. Unfortunately for them, the killers see them and follow. When someone finally responds on the radio, the killers try to get into the room.
Unable to get to them they set fire to the tower. This causes Jessie, Chris, and Carly to have to climb out onto the tall trees. As they climb down, Carly is too scared to move, is caught by surprise and her head is chopped off with an ax!
Our final two, Chris and Jessie are able to cause one of the killers to get hit by a branch, and fall from the tree. They are able to escape, and hide in a cave until morning. They head out the next morning and finally see a road. Just then, the killers show up and push Chris down the hill. Jessie is captured and taken back to the cabin. She is chained to the bed, unable to escape.
Chris survives the fall and see’s a police officer. Before he can explain what is going on, the officer is shot with an arrow. Chris tries to take the vehicle but can’t find the keys. Instead, he hides under the killer’s truck, holding on while they leave to go back to the cabin with the officer’s body in the back.
Just before Jessie is killed, the front of the cabin is busted open when a vehicle bursts through, setting the cabin on fire. There’s a fight, but in the end Chris is able to blow up the cabin with the two killers inside. Jessie and Chris drive off.
As a note, there’s an end credit scene, so stay and watch it.
Overall, I think this is a great movie and a good cast. One of those kinds of movies that’s, yes bloody, and there’s killing, but you actually like the characters. You feel bad when some die or get hurt. I can’t say the same for the sequels though. So if you haven’t seen Wrong Turn, then you definitely should watch this.
And now for your Forever Final Girl Exclusive…Did you know?:
Emmanuelle Chriqui dislocated her shoulder performing her fall through the trees. You can hear her shoulder pop on the production track in the theatrical sound mix.
Several of the cast and crew were covered in poison ivy throughout the filming of the movie, this was due to the chairs being placed in what was first thought to be a group of weeds only later to be discovered as a patch of the rash causing plants.
During one of the last scenes in the movie, Eliza Dushku actually set actor Julian Richings (Three Finger) on fire.
When the four were running from the cabin after awakening the mountain men, Desmond Harrington broke his right ankle after landing on the opposite side of a log. This made it very difficult to shoot some of the scenes after his left leg is “shot” and he has to limp on his right leg.
Despite only being credited for his producing, Make-up master Stan Winston was pivotal in the key design of the Mountain Men, in particular now postmodern horror icon Three-Finger. This marks the second last major horror film he has been involved before his death in 2008 at age 62 and the third slasher horror film he had been involved in following unaccredited work in Friday The 13th Part II and III, the latter of which he had been a core designer on the original hockey mask of also horror icon Jason Voorhees and the respective mongoloid appearance of Jason for those two parts.
Screenwriter Alan B. McElroy also penned the script for the reboot Wrong Turn (2021).
Director Rob Schmidt said in the commentary that he considers this film to be his own personal tribute to the classics like Texas Chainsaw Massacre (1974) and Hills Have Eyes (1977).
Kevin Zegers and Lindy Booth also appear together in the 2004 remake of Dawn of the Dead. In this film their characters are in a relationship and both die, however, in Dawn of the Dead their characters both survive and are assumed to have started a relationship by the end.
The only film in the series that does not contain any sex or nudity.
The female lead character, Jessie Burlingame, was named after the heroine in Stephen King’s novel, “Gerald’s Game”.
There’s an additional scene halfway through the end credits, showing the fate of a state trooper who discovers a body in the burned-down cabin.
Eliza Dushku did a lot of her own stunts for the movie.
Check out my other reviews here: Forever Final Girl
Let’s get into the rankings:
Kills/Blood/Gore: 4/5
Sex/Nudity: 0/5
Scare factor: 4/5
Enjoyment factor: 5/5
My Rank: 4/5

**Kiss Kiss Bang Bang’s excellent acting, script, and writing are held back by its annoying and avoidable language and nudity.**
Kiss Kiss Bang Bang is a clever and unique mystery movie with brilliant writing, dialogue, and acting weighed down by unnecessary and excessive language and nudity. Seriously, I would love this movie if you cut out all the f-bombs and nakedness. Robert Downey Jr. basically auditions for Iron Man with his manic and witty performance, and his unlikely friendship with Val Kilmer’s character is highly entertaining and hilarious. Characters break the fourth wall several times throughout, keeping the movie comical and fresh. I really wanted to like this movie more, but the crass language and needless nudity hold Kiss Kiss Bang Bang back from being a holiday regular.

Awesome movie, if you liked The Nice Guys (2016) you're going to love this.

It's literally like someone took America by the East Coast and shook it, and all the normal girls managed to hang on.
Kiss Kiss Bang Bang is written and directed by Shane Black. It stars Robert Downey Jr., Val Kilmer and Michelle Monaghan. Music is by John Ottman and cinematography by Michael Barrett.
Small time thief Harry Lockhart (Downey Jr.) is running from the police and stumbles into a movie audition and gets the part! Partnered with private detective Gay Perry (Kilmer), who is to show him the ropes for the part he's to play, things turn just a little weird when dead bodies start turning up in his life
Shane Black's first venture into big feature film directing is a master class of genre bending bravado. The screenplay and script bare all the hallmarks of Black, where anyone familiar with his writing work previously will know where to set expectation levels as per barbed dialogue and blitzkrieg energy. Yet this is very much one of a kind, a standalone of such dizzying thrills and shameless awareness of movie conventions, it practically begs to be visited on more than one occasion.
To simplify it, it's a neo-noir murder mystery bromance romance comedy actioner! OK, so not really that simple, then! Black takes a loving homage to pulp cinema and mixes it with caustic asides to the Los Angeles industry that provides him with work. How wonderful. Downey's (fabulous) Lockhart is the fulcrum, acting as antagonist, protagonist, narrator and a number of other things as Black runs him through the meta mangler. Kilmer (also fabulous) sidles up to deliver sarcasm, machismo and tongue in cheek posturing, the chemistry with Downey concrete. An odd couple pairing beautifully baring fruit, and, well, just beautiful really.
Into the mix is the gorgeous Monaghan, who as Harry's childhood object of affection, is now a failed actress, slightly damaged, but strong and savvy, but also not, an unconditional femme fatale, but also not really! Corbin Bernsen (whose company produced the pic) files in for some joy filled has-been smarm, while sound tracking and photography sit comfortably with the nature of the beast. As a plot it's deliberately complex and convoluted, Black knows his noir onions, but he also wants to put his vibrant stamp on things, so he crowbars the comedy of The Hard Way into the hardboiled haze of The Big Sleep. And it works very well indeed.
Violence is aplenty but very much irreverently played. Murders occur, either by design or otherwise, various body parts get assaulted and they shouldn't make for belly laughs, but they do; and not in some lame Weekend at Bernie's way either. And yet still Black has time to trickle sad themes below the surface, one in particular really hits home and forces the viewer to snap out of the frivolity for some reflection. Make no bones about it, these are damaged characters straight out of noir's dark alleyways in the 40s and 50s. So Capra meets Siodmak - Dmytryk - Mann - Tourneur - Wilder...then?
Smarty pants film making makes for smart entertainment, see it more than once. Hell! See it annually in fact. 9/10

Probably the best thing Shane Black's ever made, and I do not say that lightly, even the worst things he's behind have been okay, and the great (like _Kiss Kiss Bang Bang_) are truly great. The movie that turned me on to lead man Robert Downey Jr., but it's Val Kilmer that steals the show here.
_Final rating:★★★★ - Very strong appeal. A personal favourite._

2 hours of tedious boring nonsense.

Funny story, tailored for Robert Downey Jr. with a superlative Michelle Monaghan. Val Kilmer shines like in movies some years ago.

_Rope_ is often praised for its technical ambition but falls flat in genuine suspense. The single-take gimmick overshadows the storytelling, leaving it feeling more like a stage play trapped in a cinematic format. Jimmy Stewart’s earnest charm feels misplaced here; his usual gravitas is oddly muted, making his presence more distracting than commanding. John Dall is the real standout, injecting a sinister flair into an otherwise tepid cast. The much-lauded homosexual subtext can’t compensate for the lack of tension or stakes. A fascinating experiment, but certainly not Hitchcock at his best.

Somebody should have stopped Hitchcock from all this innovating business…

Now I may be completely off beam here, but there is something ever so slightly homo-erotic about the relationship between John Dall ("Brandon") and Farley Granger ("Philip") in this rather clunky murder tale that is less of a mystery and more of a bragging exercise. The two, having murdered their college friend "David" invite some folks round for a dinner party that shows the pair - especially Dall - as obnoxious men with a profoundly mis-placed superiority complex. As their odiousness is enhanced by over-confidence and drink, their former school master "Rupert" (Jimmy Stewart) starts to suspect that there is more to the absence of "David" (the more suspicious because his father, Sir Cedric Hardwicke has come to the supper) than meets the eye; and soon he begins to put two and two together. I found the long takes helped build the tension quite effectively, but the dialogue was relentless and the fine line between characterisation and irritation - for me, anyway, was well and truly crossed. If Dall's purpose was to alienate the room and the audience, then he succeeded spectacularly - and it says in the trailer - it's certainly not a film you will ever forget.

Rope was the first Alfred Hitchcock/James Stewart collaboration. They would go on to do "Rear Window", "The Man Who Knew Too Much", and finally, "Vertigo". This being the first, and also a kind of experimental film on Hitchcock's part, it is the weakest of the four. Shot as a play, mainly in one room, and with only a handful of cast members, the concept of how it was done is intriguing even today. Done in roughly a dozen takes, the only times that the camera ever cuts are when it closes in on someone's back and then angles around to the other side. That's the tell-tale sign of the only cuts in the entire film.
John Dall's acting is commendable, in the part of the more ruthless killer, Brandon Shaw. He's a very cool character, and feels no guilt over the brutal murder he's just committed. James Stewart, great as he is, seemed a bit out of his element, as intellectual publisher Rupert Cadell. Stewart is always immensely enjoyable, and I have massive respect for his talent. However, he does appear somewhat uncomfortable with his part throughout the film.
Another aspect that detracts from the tension is the opening scene of the murder taking place. After David Kentley is dead, he is placed in the wooden chest and the audience knows he's dead from scene 1. Had Hitchcock omitted the scene of the murder, the audience would no doubt be wondering "Is there really a body in that chest? Did they really do it? What's going on here?" And the red herrings in the film would only add to the suspense. As it is, we know from the start who's dead and who-done-it. That said, it's a decent movie, and certainly still worth the watch.

Can't believe I'm only seeing this now. It's great. Basically a play. There couldn't have been more than 15 shots. Ending had me in tears. Shouts out

Whilst this largely centres around the persona of "Charles" (Hugh Grant) it's really more the compendium of characters that makes this comedy work well. He is late for the first of the weddings, but that doesn't really matter except it's where he first espies "Carrie" (Andi MacDowell). A one night stand ensues and both seem to like the other, but nothing comes of it and we proceed to the next wedding, then the next. It's this third one that turns out to be her's - to a laird a little older than she. "Charles" is crestfallen but what to do? Might it be best to settle for someone else - even is she's not the one? Richard Curtis has written a gem of a comedy here, allowing a slew of characterful personalities to slot into the life of "Charles". The underused, brightly waist-coated, Simon Callow is probably my favourite. He and boyfriend "Matthew" (John Hannah) have an habit of exposing the more preposterous and yukkie sides of the wedding; the twee folk singers and the guests who overdo the free bar or think they are god's gift. Indeed, as much of this takes a swing at the whole symbolism and ceremony of marriage as it plays on the foibles and flaws of "Charles" and his friends. Rowan Atkinson's bumbling vicar "Gerald" has the pews in hysterics and Charlotte Coleman is great as the maybe a bit too frank "Scarlett". It pieces together a bit to serendipitously and I maybe don't need to hear the Wet Wet Wet song again any time soon, but it showcases a range British acting talent in an amiable and enjoyable fashion for two hours.

Good, if a little light on actual laughs.
Hugh Grant is the best thing about 'Four Weddings and a Funeral', he gives an amusing performance. The plot is obvious and speaks for itself, it does lead to a few interesting shenanigans. Some of the dialogue is iffy, as is some of the editing though.
None of the cast behind Grant stood out to me, with the exception of Rowan Atkinson; but that's only down to how well known he is in general, as here he is underused. I found Andie MacDowell's performance very wooden. I appreciate them not going the obvious route with Kristin Scott Thomas' character, even if it makes her Fiona redundant throughout.
Just about serviceable, worth watching if only once.

64/100
Martyrs delivers an intriguing and original concept but doesn't quite reach its full potential. It borrows a page from Terrifier's playbook by dispatching the superior actress early which leaves a noticeable performance void. The third act hits a bit of a lull, but rebounds with a gripping and shocking climax that's sure to leave an impression. While it may not fully flesh out (no pun intended) its premise, Martyrs is worth a watch for horror fans looking for a unique and unsettling experience.

I wrote this once to describe my philosophy on what movies/TV I like:
"Ravenous fan of dark, edgy movies & TV. They should glue you to the screen and stay in your dreams."
Martyrs is one of a handful that describes that perspective to the T, and it is the kind of horror movie that you should go in completely clueless about the plot to enjoy the many twists that you won't see coming.
A big caveat: this is "advanced" horror -- gut-wrenching, gory and very disturbing. Definitely not for everybody.

Martyrs: Greek for Witness.
Martyrs is written and directed by Pascal Laugier. It stars Morjana Alaoui and Mylene Jampanoi.
The New French Extremity Movement had its bar raised considerably by Pascal Laugier’s brutal but thought provoking horror. It’s a film as uncompromising as it is confrontational, a picture guaranteed to get a response for better or worse. Once viewed it simply will not be forgotten, the images, the twisty narrative thematics and the bloodshed that flows consistently throughout the story, Laugier and his two brilliant lead actresses assault the senses, magnificently so.
Story is unfurled as a three tiered structure, each one devastating, but it’s with the final third where the picture goes up through the stratosphere, stopping briefly at the café weird just to further tickle our craniums. Some of the violence here is tough to watch, and it’s no surprise to find it was met with the inevitable charges of misogyny. Yet the culmination of it all puts some perspective on the violence witnessed, leading to a strangely profound and moving climax.
The less you know about it going in for the first time the better. A strong stomach is required, as is an open mind, if you have these things then awaiting you is a visceral masterwork, one of the finest horror film’s to have ever come out of France. Yes, it’s that astonishing. 10/10

Rated this 5/10 due to large amounts of repeated and gratuitous violence.
Is it worth torturing people to find out if there is life after death?
This movie's answer seems to be "Keep doubting".

I really liked this new nightmare. I wish there was more action in it but still pretty good. I hope this is the start of a new Freddy movie series.

***A more realistic and morose version of the original film & franchise***
The specter of a dead pedophile fatally haunts the dreams of the children of his self-appointed executioners who burned him to death years earlier.
Released in 2010, this is a reboot of the original 1984 movie, freely throwing in elements from other flicks in the franchise. I think Jackie Earle Haley works well as creepy Freddy Krueger and I like the more realistic tone, which some say makes movie bland and boring. Rooney Mara (Nancy) and Kyle Gallner (Quentin) are decent as the main protagonists and I think the bedroom scene is superior to the same attack scene in the original; it’s more shocking. The prison scene’s great too.
Unfortunately, the concept of Freddy is a bit of a mess. For instance, his bladed-glove is never explained. And what was the point of the boiler room since he was just a gardener at a small preschool? The filmmakers just threw in these elements because it's Freddy, figuring people knew the character. But how do these components fit into THIS movie? And what about viewers who never saw the original flicks?
The film runs 1 hours, 35 minutes and was shot in northern Illinois and nearby Gary, Indiana, with reshoots done in Los Angeles.
GRADE: B-/C+

This is a pretty movie. Its apparent from the start, that this remake of the 1984 classic, has a pretty good sized budget to work with. In fact the budget for this incarnation was $35 Million according to Wikipedia. The budget for the Wes Craven original, $1.8 Million. You don't always get a better movie if your budget is huge, look at Avatar. You just get a really pretty movie that looks polished and has flawless special effects. Again, see Avatar. That movie was nothing but flash. The story is unoriginal and weak... and don't try coming at me with this whole "Shut up man! Avatar proved itself!" shut up! The larger budget in this case makes the movie look too polished to be takes seriously. Why the hell are we caring about watching clones of the Twilight teens being chased by Freddy Kruger? Were not. This movie didn't need a budget of $35 Million. It feels wasted. Some of the appeal of the original came from watching the director be a director and figure scenes out. This movie didn't do that. It felt trite and forced.
Freddy Kruger is less of a movie villain in the horror industry and more of an icon. Everyone I knew growing up all had Freddy Kruger nightmares when they were a kid. Perhaps this new version of Freddy will serve to scare the shit out of kids these days. I would hope so. Maybe when they remake this movie again in twenty years they will bitch about it then as well. Who knows.

Great movie for a great and tough story.
Good photography and cut, the story is well developed and the performances are superb.
Also, it doesn't fail on being over dramatic. Just the perfect balance.
A must to be seen.

This is a fine piece of cinema from Wong Kar-Wai that tells us a story of two people whom circumstance throws together - but not in a way you might expect. We start with two couples who move into a new building. One a newspaper man with his wife, the other a business executive and his wife. The businessman is rarely at home, nor is the journalist's wife - which leaves the other two at increasingly loose ends. It isn't long before a friendship develops - usually over some noodles - and though entirely platonic, their relationship becomes solid and trusting. Then, something entirely unexpected occurs that causes the two to refocus their relationship in the face of betrayal and disappointment - and well.... What helps this film stand out are the performances from both Tony Leung ("Chow Mo-wan") and the gorgeous Maggie Cheung ("Mrs. Chan") - it's a love story, and it burns intensely - but not physically - as their story subsumes both themselves and the audience. The film looks marvellous, is paced stylishly and uses quite a bit of Nat King Cole to set and keep the mood atmospheric, romantic and interesting. The photography offers us lingering close ups, we get a sense of them falling in love as if we, too, were undergoing the same experience and that all adds to the richness of the story. To give us a breather from the intensity, there are some fun scenes with their very close neighbours who love nothing better than to sit up all night playing mahjong!! Super film, this - flew by.

Aspiring folk musician "Llewyn" (Oscar Isaac) finds himself in Greenwich Village in New York during the winter of 1961 trying to make a living from his art. He's a well known face in the clubs having been part of a jobbing duo for many-a-year, but now he is finding it much harder to crack the scene as a solo artist. His aspiration has an habit of blinding him, though, and his somewhat erratic behaviour stresses his relationships with fellow folkies "Jim" (Justin Timberlake) and "Jean" (Carey Mulligan) on whose couches he finds himself increasingly relying. To add to his woes, his manager "Mel" (Jerry Grayson) isn't really much cop and his eponymous album isn't exactly flying off the shelves. "I know", he thinks, a change of scenery. A chance meeting with the enigmatic "Turner" (John Goodman) and his word-shy driver "Johnny" (Garrett Hedlund) takes him to an interview in Chicago with the talent-spotting "Bud" (F. Murray Abraham). Might any of this help our budding Bob Dylan make any progress? The drama itself here is really intimately presented, with some tight photography helping to convey the emotion maelstrom this man is living through as he tries to reconcile his almost puritanical search for perfection with his growing appreciation of the real - and not so accommodating - world. There's a great little song with himself, Timberlake and the sparingly used, but on-form, Adam Driver ("Al") that shows the latter has some solid musical timing, and a good sense of humour too! This looks like a labour of love - not just for the Coen's, but for Isaac who genuinely seems to sweat the role. It's a wee bit wordy, but the ensemble ensure that the segments of his life and travels in search of something intangible become and remain engaging to watch. Oh, and it's true - everyone else does sing Dylan songs better than he does himself!