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    “THE INCIDENT (EL INCIDENTE)” (Fantastic Fest Review)

    “I wrote this film to conjure up my own fear of dying,” Ingmar Bergman once said of THE SEVENTH SEAL, his peerless exploration of mortality, faith, and the towering, immutable mysteries of existence—and by the time we reach the revelatory final third of the harrowing and profound Mexican mindbender THE INCIDENT, wherein the philosophical speculations and meditations hinted at throughout seemingly separate parallel stories at last intertwine into an disquieting (yet strangely uplifting) denouement, it is difficult to believe director Isaac Ezban did not have a similar goal in mind.

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    “SONNO PROFONDO” (Movie Review)

    The following might very well be the shortest review you’ll read here at Fango this month. It’s not because SONNO PROFONDO (DEEP SLEEP) — a new Argentinian psychodrama from writer, composer, photographer and director Luciano Onetti — is a bad movie. It’s not. It’s actually not a movie at all really, in the traditional sense anyway.

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    “IT FOLLOWS” (Fantastic Fest Review)

    The concept that drives writer/director David Robert Mitchell’s unnerving horror film IT FOLLOWS is obvious in its allegory and certainly, the idea of evil VD has been mined since David Cronenberg literally spat out his sex parasites in 1975’s THE CAME FROM WITHIN (aka SHIVERS). Here, in IT FOLLOWS, it’s not the metaphorical frissons that affect the viewer, rather it is the economical ways in which its director uses sound, silences and framing to seep under the audience’s skin. And believe us, IT FOLLOWS, much like the spectral STD it introduces, leaves an unshakable residue long after withdrawal.

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    “NO GOOD DEED” (Movie Review)

    Last week, at practically the last minute, Sony/Screen Gems cancelled press screenings of NO GOOD DEED, leaving critics to trek to theaters to see it. The ostensible reason was to protect the movie’s final-act surprise (which isn’t much), rather than the movie itself (which is even less).

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    “THE GUEST” (TIFF Movie Review)

    Adam Wingard and Simon Barrett’s THE GUEST qualifies as horror for lack of any other easy genre classification (well, aside from a delightfully cheeky Halloween themed climax). The duo have delivered a project that mixes their trademark dark humor and hyper cineliteracy with elements of 80s horror, thrillers, and action flicks, topped off with a light dusting of John Carpenter. It’s a movie that Cannon Films would have been proud to slap their logo across during the neon decade and yet it also feels contemporary. The film strives for nothing more than pure, unadulterated, unapologetic entertainment and so delivers on that promise, you can’t help but sit back and smile.

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    “SPRING” (TIFF Movie Review)

    You’ve got to give the folks behind SPRING credit for making a film unlike any other. One could describe the movie as POSSESSION meets BEFORE SUNRISE and certainly no one has ever attempted to pull that off before. There are times when the movie is wonderfully unpredictable. There are times when the whole thing feels like a confused mess. There’s no denying however, that the film is a fascinating original vision.

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    “CUB” (TIFF Movie Review)

    In his feature film debut, Belgian director Jonas Govaerts has delivered what can be described as a textbook horror film. It weaves together a vast swab of genre tropes into something pitched halfway between campfire yarn and 80s slasher. In this case, that’s not a bad thing.

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    “THE EDITOR” (TIFF Movie Review)

    For anyone raised on bleary-eyed marathons of VHS and DVD rentals, the five lunatics known as Astron-6 have been a delightful, new lurid pleasure. Through films like FATHER’S DAY and MANBORG, they’ve developed a signature tone, often pitched somewhere between parody and homage. They clearly love bargain bin trash movies. They just love laughing at them as well, and their movies toe the line between those two extremes. THE EDITOR is their latest and by far most ambitious feature, which applies the Astron-6 treatment to the giallo. It’s kind of a perfect mix, given that gialli tend to be stylistically gorgeous and magically, hilariously dumb in just the right ways. And the guys clearly know the genre well. THE EDITOR is not simply an Argento homage. Even flicks like HITCH HIKE get a moment in the spotlight.

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    “BACKCOUNTRY” (TIFF Movie Review)

    Canada is a land rich in unspoiled nature. With dense forests and breathtaking cinematic locations from coast to coast, you’ll find many a US western, period piece or summer camp flick shot up here, wherein the producers dupe viewers into thinking you’re watching anything but a Canadian film.

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