If there’s a twist here, it’s that Ava (Jessica Chastain) is a recovering alcoholic trying to mend her family relationships while fending off attackers after she becomes too careless in the field. Matt Brennan, Scott Derrickson’s Sinister isn’t a period piece, but by directing its attention backward it brackets its chosen tech-horror particulars as products of a bygone era—in this case considerably further back than the period of tube TVs and quarter-inch tapes to which this subgenre of horror so often belongs.
It’s only something you can shake your fist at. In On the Rocks, Coppola utilizes the comic-melancholic tone that she perfected in Somewhere. Both even conclude with a surprising tonal shift, accompanying a pivot in their protagonists’ behavior from a tightly controlled precision toward a mystical catharsis. Kossakovsky’s camera closes in with a slow Kubrickian zoom, but we don’t quite understand what’s happening here until a tiny newborn piglet emerges from behind its mother. I spoke to July over the phone as Kajillionaire prepared for a theatrical run prior to hitting VOD in October. Complementing Jane’s portrait of coiled wrath, Molly Parker physicalizes the fear that informs every minute wrinkle of Arlette’s relationship with her husband, which the character attempts to paper over with bravado, inadvertently sealing her doom. Their adventure is dotted with lovely curlicues, such as Felix prattling on while recklessly driving a sports car around New York until he’s pulled over by police offers whom he readily charms with his hail-fellow-well-met routine. Directed by Daniel Monzón.
Unfortunately, the film has relatively little of that kind of punchiness.
Sofia Oggioni’s cinematography up to this point stressed the verdant hyperreality of the jungle and the ways that the characters at once mesh with their environment and are in conflict with it; an earlier shot of Agnes asleep under the chicleros’ mosquito netting is lit in such a way that she appears encased in spiderwebs, in a limbo state until she’s devoured. Felix has a penchant for absurdist sexism (one of the best bits in the film finds him convinced that he’s growing deaf only to female voices), and he displays undisguised glee at the prospect of proving Dean’s infidelity, which might normalize his cheating on Laura’s mother years ago. Budd Wilkins, The Blackcoat’s Daughter has a sad, macabre integrity. The attack also functions as an indirect representation of the senseless violence at the core of the Old Testament story of Isaac, which is the passage being discussed by the congregation before they’re forced to flee. The film opens with footage from a Day of the Dead ceremony in Mérida, Yucatan—crowds adorned with the requisite black-and-white skeleton makeup—that finds its direct echo at about the midway point when we visit Chichén Itzá and discover a forecourt there that’s decorated with … And she suspects that this behavior might lose Dean’s attention.
The sight of the sleeping beauty flanked by the hard laborers suggests an image out of Walt Disney’s Snow White and the Seven Dwarfs, and the initial scenes between the English-speaking woman and the Spanish-speaking men make for awkward, amusing interactions, albeit ones also charged with sexual tension, as some of the men aren’t devoted to protecting her virtue.
The makeover montage is as much a tradition in romantic comedies as the meet cute.
Arguing that a man was justly convicted but nevertheless victimized by the carceral state—getting people to accept a guilty man as a locus of sympathy—is a taller order, but it’s just what Garrett Bradley does, in plain but morally forceful terms, in her documentary Time.
In this sequence, a truck pulls up to the barn where the pigs live and drives off with the piglets, leaving the mama pig in a state of grief-stricken perplexity. Anderson uses to brilliant effect a series of archived audio recordings—leading up to the titular “breakthrough” session—that document a disturbing case of split personality.
Sitting across from one another, talking of their own relationship while pretending to speak of Laura’s marriage, Felix and Laura make for an enchantingly odd couple, their energies redolent of a classic movie duo, merged with the despairing yet droll preoccupations of a filmmaker who appears to be cutting to the heart of her own demons.
The premise alone, about a family of eccentric thieves living in the margins of Los Angeles, makes the film feel of a piece with a recent wave of cinematic scammers both real (Fyre Festival and Theranos) and imagined (Parasite and Shoplifters).
While the film doesn’t entirely stick its murderous finale, no one who hears those scarifying final lines of dialogue will soon forget them. And though Norm instructed the women to cover their tracks, they’re quickly found, and the juxtaposition between Norm arduously rowing a canoe and Cacique and his men arriving suddenly on the scene via motorboat speaks volumes about the hopeless futility of escaping this man and the imperial might that he represents.
Although the strong cast helps the film through some of its weaker segments, Sorkin’s attempt to bring a Spielbergian fluidity to the flashbacks to convention riot chaos often fall flat.
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