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helps complicate the genre’s Hallmark-ready plea for connection by leveraging its implicit loneliness into a more nuanced exploration of what it is that we need from each other. The first is that the “La Ronde” structure of Hedges’ screenplay - divided into some two dozen video calls, most of which pass the baton between a character from the previous chat and their newly introduced parent, partner, therapist, etc. A screen-life saga with such a deep ensemble cast and so many overlapping storylines that it sometimes feels a few coincidences away from turning into “COVID, Actually,” Hedges’ mosaic is as guilty of coronavirus box-checking as the rest of its ilk (one of its many discrete segments mentions COVID Toe and Andrew Cuomo in the span of just a few seconds).Īnd yet it transcends (or at least expands) the limits of its genre for two distinct reasons. It’s also hopefully the last, but we can’t hold that against it. Peter Hedges’ “The Same Storm” - despite its outworn premise and the ham-fisted clunkiness that tends to come with it - is the best quarantine drama this pandemic has produced so far.
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The film’s most brilliant trick is to mire the audience in the twisted moral dilemma with which its protagonist is grappling, taunting us with the question: What would you have done differently? Read IndieWire’s full review. As body shame and self-loathing morph into a disturbing complicity with violence, “Piggy” pushes the torments of youth to their naturally wicked ends. Part coming-of-age romance, part psychological body horror, “Piggy” firmly establishes Pereda as a bold new voice in feminist horror - that recently flourishing sub-genre popularized by the likes of Julia Ducournau, Ana Lily Amirpour, and Jennifer Reeder.Īided by a dynamite performance from newcomer Laura Galán, “Piggy” uses the tension of a slasher thriller to weave a painfully relatable tale of adolescent angst gone terribly awry. The sweltering heat of summer in a small town hangs thick in the air in “Piggy,” the blistering feature debut from Spanish filmmaker Carlota Pereda. Violence and trauma and death and pain are “contagious,” we’re told in “Halloween Ends.” They’re “addictive.” And everyone here? They are “infected.” Read IndieWire’s full review. After decades of horror, of course this once-idyllic small town (and its inhabitants, even those not named “Strode” or “Myers”) remains in the throes of a significant traumatic episode. If Green’s “Halloween” was about the corrosive effects of sustained terror on a single family, and his “Halloween Kills” was about how mob justice can’t solve anything, his “Halloween Ends” thrillingly connects those ideas, putting all of beleaguered Haddonfield, Illinois, on display.
And yet the driving force behind Green’s three “Halloween” features has always been at odds with the very idea that any of this could ever end. The principal question of David Gordon Green’s trilogy-capper “Halloween Ends” is baked right into its seemingly definitive title: It ends? After 13 films, including multiple timelines, confusing continuity, a pair of remakes, one wholly unaffiliated outlier sequel, a run of “re-quels,” and more, the ballad of Michael Myers and Laurie Strode is coming to a close with one last bloody, brutal slasher. In fact, Park’s funny, playful, and increasingly poignant crime thriller is less interested in what Hae-joon (Park Hae-il) knows about his suspect than in how he feels about her. In that case, the heart-stirring potential of the Korean auteur’s new detective saga would have been as obvious as the identity of its killer. It’s a good thing, then, that “Decision to Leave” isn’t a whodunnit - as you’ll be able to discern from the pathetic effort its protagonist makes to solve his latest case.
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I wasn’t aware that “Oldboy” director Park Chan-wook - whose operatic revenge melodramas have given way to a series of ravishingly baroque Hitchcockian love stories about the various “perversities” that might bind two wayward souls together - was making a detective thriller.
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The most romantic movie of the year (so far) is a police procedural. “Decision to Leave” (directed by Park Chan-wook) - IndieWire Critic’s Pick Additionally, our coverage will provide alternative viewing options whenever they are available. We encourage readers to follow the safety precautions provided by CDC and health authorities. Week of October 10 – October 16 New Films in TheatersĪs new movies open in theaters during the COVID-19 pandemic, IndieWire will continue to review them whenever possible.
Each film is now available in a theater near you or in the comfort of your own home (or, in some cases, both, the convenience of it all).
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