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Diary of a SpectatorMovie reviews
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Originally published on Elements of Madness.   Haizea Carneros as Amaia in ALL THE MOONS. No country’s literature or filmography is short of romance stories. If a writer tells you they’re working on a piece about love, you’ll probably assume they’re talking about romantic love. We live in a culture that prioritizes romance and marriage, and it’s easy to forget that other types of love can be just as fulfilling. When Igor Legarreta and Jon Sagalá wrote a screenplay about a girl searching for love in her doomed existence as an immortal vampire, they decided not to turn their bloodsucker story into a romance. In All the Moons, which screened at the Fantasia International Film Festival in August, the young heroine discovers meaning in her wretched existence not from a romantic relationship, but from the love of a lonely man who becomes the parent she never had. Legarreta and Sagalá undertook a great challenge in choosing to write a vampire movie (at this point, what hasn’t already been done with vampires?), however, they made the most of this fantasy/horror sub-genre by exploring parent/child relationships and the question of consent in matters of life and death. The final product, directed by Legarreta, is an enchanting fantasy that wraps the joy, wonder, and melancholy of an entire lifetime into a single feature-length film.
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  (L-R) Nicolas Cage as Hero and Tak Sakaguchi as Yasujiro in the action/adventure film, PRISONERS OF THE GHOSTLAND. Photo courtesy of AMC+ and Shudder. There’s just no other way to put it: Sion Sono’s Prisoners of the Ghostland is just downright bizarre. But is it a bizarre work of genius, a bizarre flop, or something in between? This absurd dystopian action flick scores so highly in some categories and so poorly in others that it’s difficult to rate the film overall. The production design is outrageously fun, the cinematography is breathtaking, and Joseph Trapanese’s score is bursting at the seams with memorable motifs that work perfectly in a genre-driven movie. But the script? Let’s just say it’s a good thing Nicolas Cage has so much experience pushing bad dialogue to its limits. Thanks to Cage’s performance, Prisoners of the Ghostland falls into the “it’s so bad, it’s good” category. If you can accept the movie for what it is — a wacky celebration of genre created by an experienced director who has earned the right to do whatever he wants with his movies — you might not hate Prisoners of the Ghostland too much.
  A still from WHEN I CONSUME YOU. Do your worst childhood fears ever come back to haunt you? Does it feel like the monsters in your closet never left? Most of us outgrow our fear of shadows, monsters, and the dark, and we can now keep the closest door open at night and venture down the dark basement staircase with ease. But for Daphne and Wilson Shaw (Libby Ewing and Evan Dumouchel), the lead characters in Perry Blackshear’s When I Consume You, the haunting presence that plagued their childhood never left them alone. As the brother and sister grapple with the struggles of adulthood, a slew of mental health issues, and the lasting effects of a bad home life, they’re also haunted by a relentless stalker who has been watching them with malevolent yellow eyes since they were kids. After years of living in fear, Daphne and Wilson decide it’s high time to seek revenge.
  (L-R): Makkari (Lauren Ridloff), Thena (Angelina Jolie), Gilgamesh (Don Lee), Ikaris (Richard Madden) and Kingo (Kumail Nanjiani) in Marvel Studios' ETERNALS. Photo courtesy of Marvel Studios. ©Marvel Studios 2021. All Rights Reserved. At the beginning of the 2021, Chloé Zhao became the second woman in history to win the Oscar for best director. She now rounds out the year by joining the ranks of filmmakers who have made their mark on the Marvel Cinematic Universe. Zhao makes her Marvel debut directing Eternals, a fast-paced, action-packed, big-budget, CGI-infused Hollywood spectacular that’s vastly different from the slow-burning film for which she won the Oscar, Nomadland. We can catch glimpses of Zhao’s directorial expertise, respect for nature, and reverence for human connection in Eternals — but in the end, the movie is still characterized by the same distinctive style, themes, and humor that define all films in the MCU (how many jokes can you make about non-human beings trying to figure out human technology?). After Avengers: Endgame, Eternals feels a bit like an all-or-nothing attempt to get a new superhero group together as quickly as possible. Fans should buckle up, because there’s a lot going on in this latest addition to the MCU.
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"Our embodied spectator, possibly perverse in her fantasies and diverse in her experience, possesses agency...finally, she must now be held accountable for it." Archives
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