Category: thriller

Haunt-Tober 2024 Day 8: Love Lies Bleeding

Posted on by Kstrouse

Haunt-tober 2024 is here and it’s time to dive into the macabre, the strange and the frightful during this beloved time! Join me as I spend the month discussing new and classic films. 

As a fan of Saint Maud I was really looking forward to her second feature. And, well, Rose Glass you slay me.

The film has sat with me and grown in favor with time and contemplation. What started as a stylish admiration has become a beloved favorite of 2024.

This pulpy thriller is firing on all cylinders with bloody shots and larger than life imagery.

And Ed Harris eats a bug. There’s that too.

Love Lies Bleeding is a combustive thriller that showcases its talented stars and expert direction. The costume and production design set a compelling stage for this romantic, violent tale to unravel.

Lou (Kristen Stewart) runs a small gym in a “seemingly” sleepy town. Her sister Beth (Jena Malone) is married to the violent JJ (James Franco) and she has an estranged relationship with her father Lou Sr (the always exceptional Ed Harris). When committed bodybuilder Jackie (Katy O’Brian) shows up, and their fiery courtship begins, tragedy and revenge eventually ensue. This raw but might I even say – cheeky- flick sings at a register all its own.

source: A24

There is a captivating quality about Love Lies Bleeding that doesn’t waver and keeps itself tantalizingly alluring.

While the movie itself is provocative and gritty, thrilling and sexy, one would be hard pressed to say it holds anything back: yet I still felt the film had its secrets, its smirks, and winks. Its ending is sure to be polarizing, but feels at home here.

It happens to be one of my favorite Kristen Stewart performances because I feel there’s an unrelenting power to her character. She commands the screen, but never feels unsure or restrained. I loved that for her. Katy O’Brian is equally talented with a turn that goes through an intriguing metamorphosis. These two are magnetic with ample chemistry.

It has noir inspirations, feels like Thelma and Louise at times, and yet also feels very much like its own. A challenging conceit to capture on film these days. There’s also some body horror images that’ll stick with you.

Love Lies Bleeding is brazingly edgy. It feels like escape, like that rare intimacy, and the lengths some will go for love.

The passion in the film is felt in every beat. Not just as a call for more queer fronted stories, but within the filmmaking itself. A visceral entry, Glass has signified her place as one of the most exciting and unique filmmakers working today.

Stay tuned for more Haunt-Tober!

What did you think? Let me know in the comments below!

Run, Baby, Run (2024) Review

Posted on by Kstrouse

Run, Baby, Run doesn’t break the mold when it comes to modern-day thrillers, but it certainly rushes full speed ahead.

The film follows Diana (Catutxa Leira), a young deaf woman setting out for an outdoor run. Things seem relatively harmless until a mysterious hooded runner races by. From their initial bump on a running path, competition arises between the two, eventually evolving into a fight for survival.

Director Toni Andújar‘s film is brimming with intensity. From its onset to its final act, the film has little opportunity to slow down. It truly feels as if it’s a race against time.

source: Tricoast Worldwide

It’s a script with very limited dialogue and one that relies on its action-intense plot and physical suspense. It utilizes high-pressure moments brought to life by a captivating and energetic synth-based score. There are times when the music becomes too much, but it brings the film’s pulse to a demanding fever, as unrelenting as the story (and antagonist) themselves. The stakes continue to be raised and the lengths that Diana has to go to to live increase in size and danger. While others become involved and things move off the beaten path, the film never loses focus of the two battling at the center.

Some occasionally strange angles bewilder, along with some unnecessary shifts in the plot, but overall, it captures nature beautifully, and human nature, terrifyingly. The action scenes and cinematography are all staggeringly done in such a way that it feels as if we are there with her.

I wish we could have gotten more background (though we do have some telling flashbacks) with Diana, but so much of the film is built around this experience and we learn about her as she discovers her will to survive. Run, Baby, Run doesn’t shy away from being strange with intriguingly unique branching-off points as the plot is propelled forward. This is certainly a film that roars with female ferocity and it’s a call I was excited to hear.

One can admire Toni Andújar for the bold way that this film is tackled. It’s a sprawling set piece that traverses a lot of ground. It doesn’t relent; with little given in terms of a reprieve. While it doesn’t always stick the landings, some genuine scenes of distress are laden within a film carried by its lead performance. Overall, Run, Baby, Run is the little thriller that could: ambitious and enthralling.

Run, Baby, Run is available on VOD.

Leave the World Behind: A Riveting, Head-Spinning Thriller

Posted on by Kstrouse

Crafting a haunting thriller that ruthlessly intertwines shock and despair is an art, and Leave the World Behind revels in this with admirable finesse. The film plunges into the abyss of universal fears, weaving them seamlessly into the fabric of a real-world cataclysm. The stellar ensemble, led by Julia Roberts, Ethan Hawke, and Mahershala Ali, adds a layer of brilliance to a narrative that’s both mesmerizing and emotionally scorching.

Initially draped in the guise of simplicity and innocence—a family seeking solace on a Long Island getaway—the narrative swiftly morphs into a heart-rending suspense tale. Trapped and entangled in the dangerous forces at play, the characters grapple with an unforgiving reality.

At first, it’s a blackout, but what starts as something explainable turns into something much worse. 

In the chaos, the seemingly content couple, Amanda (Julia Roberts) and Clay (Ethan Hawke), navigate the labyrinth of uncertainty with their children, Rosie (Farrah Mackenzie) and Archie (Charlie Evans). The looming specter of a cyberattack injects an additional layer of complexity, entangling everyone in a web of confusion where answers elude and questions suffocate. Unwanted guests, George (Mahershala Ali) and his daughter, Ruth (Myha’la Herrold) add to a dilemma: trust or escape? Intentions and assumptions are meticulously considered, exposing the raw nerve of human desperation.

Director Sam Esmail masterfully captures the raw agony of in-the-moment hysteria, plunging the audience into a tumultuous sea of emotions. The performances of Roberts, Hawke, and Ali not only mirror the gravity of the situation but catapult it to thrilling heights. The screenplay, rife with grim possibilities, keeps us teetering on the edge, questioning the unfolding events with a sense of impending doom.

The best aspect of the film truly emanates from the interplay of characters. The script by Rumaan Alam and Sam Esmail allows our lead performances to cut deep, their scenes together a manifestation of intriguing depth, an alliance born out of necessity amid the suffocating circumstances. Kevin Bacon also has a key scene in a vital supporting role.

This film perches itself on a throne of despair, thrills, and biting satire, existing in multiple corners of darkness. Sam Esmail is known for his meticulous approach to visual storytelling, and he employs a range of techniques to immerse the audience in the unsettling atmosphere of the film.

The dynamic is woven with understanding, and eventually trust, providing a fleeting semblance of sincerity in the relentless insanity of circumstances that continue to present themselves: strange animal behavior, misbehaving Teslas, and endangering noises: oh my. 

Long takes and other movements infuse fluidity into the storytelling, immersing the audience in the characters’ experiences. The cinematography, a potent storyteller, vividly conveys the raw emotions on screen.

The lighting is key too, as it shapes the film’s vibe, mirroring the journey from blissful ignorance to harsh reality. The interplay of shadows during the family’s getaway and eerie artificial lighting in the face of the unknown heightens the overall sense of disquiet.

source: Netflix

The framing is both intimate and purposeful, revealing subtle emotional shifts, while wide shots emphasize characters’ isolation and vulnerability amidst an inexplicable threat.

The icky factor shouldn’t be overlooked either, as some genuinely disturbing, discomforting moments won’t soon leave you as the credits roll. This one has a built-in effect as time has continued on, convincing me it’s a movie that needed to be experienced more than just described. I loved seeing these talented actors take on this intriguing task of a film, which made it even more enjoyable.

Within the film’s editing is a tension-building masterclass, seamlessly bouncing between calm and chaos. Leave the World Behind not only shocks and awes but also leaves an indelible mark with its storytelling, performances that haunt, and the lingering uncertainty that outlasts the rolling credits. It’s visually arresting, nostalgically tuned, and manipulates our emotions as if we’re drowning in our own despair.

Yet, it feels off-kilter, refusing to pay a particular homage to its characters amidst the face of the impossible—an intentional choice that leaves a bitter taste. It doesn’t detach from the effect, as the pacing ensures that eyes are continually glued to the screen.

The film does boast one of my favorite final shots of the year, ending in a way that offers a flicker of hope when the darkness seems insurmountable. The power of Leave the World Behind doesn’t dissipate; it lingers, a haunting echo that refuses to fade away.

“I’ll be there for you.”

Sometimes, we just need some friends.

Leave the World Behind is now streaming on Netflix.

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Tribeca Film Festival: One Night With Adela

Posted on by Kstrouse

The midnight section of the Tribeca Film Festival is always a place for adventure. It’s one I escape to fondly and with open arms as it frequently allows for some interesting creative dives, and showcases genre-bending curiosities.

It also gives first-time directors such as Hugo Ruíz, the opportunity to present a bold vision, as with his film on this year’s slate: One Night With Adela. It’s got bravado in its positioning and angered temperament that will prove to be wholly divisive among viewers.

Set in Madrid in real time and edited as one shot, we ride with street sweeper Adela (Laura Galán) as she releases a vengeful pursuit of the city. She calls into a nightly radio show as Ariel, where she admits to the host that she intends to inflict pain, but how and why is yet to be seen.

Her motives or backstory aren’t clear in the beginning, but her rage is palpable. What culminates is a mix of drugs, violence, and sex that tests the viewer’s patience and constitution.

Laura Galán is fantastic. Coming off of another similarly paced, (but much clearer in its intentions) film, Piggy, the actress again commits and truly embodies Adela. She captivates as much as she infuriates but she never lets her command of the camera falter.

“A Human Wreck.”

The choice to film Adela as one long shot over the course of a whirlwind of a night is a stylistic choice that mostly pays off. Aesthetically, the movie strives to match the woe of our lead with the backdrop of a sullen and desperate city in the throes of late night.

source: Tribeca Film Festival

There are some intriguing moments and clever vehicles for tension building such as a scene where the camera stays fixed on a television set while a nature show talks about cuckoo birds, and Adela moves around off-screen. Unsure of what she is up to, unease permeates.

Each encounter speaks a warning, and when a shocking reveal occurs it effectively lives in your stomach.

The final sequence becomes too much of a monologue and while it provides some insight that shows her actions aren’t random but premeditated, it removes some of the previous, slowly built agony that we join her for. It adds some distinction, but it doesn’t necessarily add a lot of depth. In a way, I preferred the uncertainty.

I felt conflicted throughout the movie, often wondering if I admired or admonished some of the choices. In the end, it was both. By no means a perfect film, laden with miscalculations, I couldn’t get Galán out of my mind. Something tells me that’s exactly what Adela would want.

An ambitious project and dizzying bewilderment of excess and impulsivity, One Night With Adela may not have an entirely winning hand, but it goes all in.

One Night With Adela premiered at the 2023 Tribeca Film Festival.