In an inland Oregon town whose industries have all long dried up, two men are running a meth lab in an abandoned mine.
#Grim dawn tainted heart movie
This uncommonly serious mainstream horror movie is, despite supernatural elements, really about child abuse/endangerment, as well as communities that an evolving economy ruthlessly leaves behind. Not intending to be any fun at all is Antlers. I knew I wasn’t having fun by the frequency with which I kept checking my watch-whose deadly slow progress provided the evening’s only real horror. The last ones overstayed their welcome, too, but Soho’s entire second hour was one too many. Still, I think I may finally be done getting excited about a “new Edgar Wright” movie. You might enjoy glimpsing actual Swinging London faves Diana Rigg, Terence Stamp, and Rita Tushingham in their dotage here, and there’s no question the director enjoys toying with their star-making era’s clothes, decor, music, and cinematic tropes. A fantasy this flashy and frivolous takes on issues like sexual exploitation and violence at peril of offending by trivializing them, and Wright’s presumed good intentions only rub salt in that wound. It’s a bad decision that at first just feels forced, then seriously labored, then becomes almost suicidally convoluted. But the horror elements flat-out don’t work the characters in either era remain stubbornly one-dimensional and Wright makes an eventually terrible error trying to turn this inherently silly, camp film into some kind of #MeToo era statement. Last Night is fun to a point, with its Absolute Beginners fetishism towards swanky retro style. Did we mention that Eloise may have a history of mental illness? Well, there’s that. But as Sandie’s figurative dream goes south, thanks in part to a shady boyfriend-manager-pimp (Matt Smith), Eloise’s actual dreams turn into nightmares, then begin bleeding into her waking hours. Each night in bed she’s swept into the dizzying circa-1965 reality of Sandie (Anya Taylor-Joy), a classic “smashing bird” of the period eager for singing fame, or any other fame. This latest is a natural progression: Even more than that last film, it has high energy, cool visuals, and a very cool soundtrack that soon only heighten the perception that a thin premise is being stretched woefully thin.Īctually, the central idea does sound promising: Eloise (Thomasin McKenzie), an aspiring fashion designer who worships the 1960s, finds herself transported into that era-at least when she’s sleeping-upon moving to London for school. The World, The World’s End and Baby Driver. But it’s been a long time since Hot Fuzz and Shawn of the Dead, years filled with the decreasing delights of Scott Pilgrim vs. Definitely anticipated as more treat than trick is Edgar Wright’s Last Night in Soho. With Halloween arriving this weekend, you would expect the movies to cough up some scary entertainment, and indeed there are two major releases in that vein coming out on Friday.