Take dystopian science fiction, spike it with musical numbers, and add a delayed pinch of satire – you just whipped up a glass of Geremy Jasper’s O’Dessa. The film is punchy and boasts confidence and attitude and, yet, still doesn’t feel like it completely commits to its concepts. Jasper condenses, what feels like, a self-penned series into a single movie. But just like what usually happens with trilogies, a strong start is followed by a…
For as rambunctious as Future World is, it’s awfully dull. This disappointing joint effort comes from directors Bruce Thierry Cheung and James Franco, although considering how successful Franco has been as a director, I wonder if he was hired to guide Cheung. Nonetheless, both filmmakers fail at establishing this tattered reality, which falls somewhere between a hellscape and a subsisting rebirth. The survivors also seem to be an uneven mix of copied characters from other movies.
There is a tradition in American horror cinema of making a short film with a lot of effects and minimal plot to be eventually used as a calling card. It seems like this practice has found its way into the feature length semi-mainstream. At least, that’s the only explanation for the existence of Trey Edward Shults’ It Comes at Night, a film which shows the director’s abilities as a horror filmmaker – including his great gift for…
By: Addison Wylie A dangerous plague has wiped out most of humanity within wide proximity of Refuge’s main family. The secluded family has stowed themselves away in their crumbling abode as life around them breaks down and dawns a bleak future. Refuge isn’t a film where the infected are on the hunt for the living. Andrew Robertson’s slow burn is a study of survival as the human race turns on each other. Unkempt gangs roam…