Review: The Neon Demon

This review was originally published in Nathaniel's column at Towleroad

What are we looking at? 

The Neon Demon‘s first tableau features Elle Fanning, throat slit and reclining on a chaise lounge floating over a pool of photogenic crimson blood. It’s so perfectly lit and shaped it begs to be honored as a metaphoric pedestal exalting her death. Is the obviously smitten man photographing all of this her serial killer who missed his calling as an art director?

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The Furniture: Design Heralds Doom in The Witch

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

The Witch has a lot in common with Black Narcissus. I probably wouldn’t have noticed it if the 1947 Powell & Pressburger classic weren’t still on my mind from last week’s column, but it’s very true. Thomasin’s family of fanatical Puritans and Sister Clodagh’s nuns both find themselves on the edge of their known world, motivated by faith to make a new life. Yet both groups are doomed from the start. They’re overwhelmed by their environments and fall in the face of doubt, sexual temptation and the power of nature.

Of course, Thomasin isn’t bedeviled by gorgeous matte paintings of the Himalayas. The Witch was shot in the very real wilderness of Ontario, in the former town of Kiosk. That’s “former” because the population starting leaving after the fire at the lumber factory in 1973. Now there’s just some abandoned railroad tracks and a towering forest. If that’s not the perfect place to shoot a horror film, I don’t know what is. 

The landscape dwarfs the solitary 17th century farm where the bulk of the film takes place. Cinematographer Jarin Blaschke takes advantage of this as frequently as possible. There are countless shots in which the cast seem like helpless children at the mercy of the trees...

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FYC: Kate Dickie and the Raw Emotion of "The Witch"

Out this week on blu-ray/dvd is Robert Eggers's The Witch. Warmly received by critics, but divisive for general audiences, the film is a marvel of craft and inescapable dread. But the film is more than its horror elements and immaculate period detail - at the center is a potent family tragedy as well-developed as any drama you'll seen this year. And the bruised soul of that tragedy is actress Kate Dickie.

Dickie stars as the matriarch of a Puritan family banished from their New England settlement in the 17th century. Her Katherine begins the film essentially wordless during the excommunication, then is defined by her off-screen sobs after the film's first punishments. Once Katherine collects herself, she quickly reveals herself to be a devout believer firmly planted in her role as wife and mother. As things quickly turn from bad to worse, her agony surges with authentic depth until she becomes willingly deluded by her own suffering.

Dickie's portrayal is a prime example of The Witch offering more than its horror contemporaries...

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April Showers: Carrie

In April Showers, Team TFE looks at our favorite waterlogged moments in the movies. Here's Kieran Scarlett on Carrie (1976).

Brian de Palma’s horror classic Carrie has scenes at both the beginning and the end in which our heroine, Carrie White (Sissy Spacek) gets clean. Because of what happens between those scenes, they take on very different meanings. When we first see Carrie White, she is diffident and beleaguered—whether at home with her mother Margaret’s (Piper Laurie) stentorian declarations of fanatical Christian values or at school with the focused torment of her peers. It’s very clear that Carrie has internalized the harsh words of Chris Hargensen (Nancy Allen):

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The Only Thing You Have To Fear Is

Team Experience from the Tribeca Film Festival - here's Jason on "Rebirth" and "Fear Inc."

It's weird that I brought up the 2006 film Severance last week when reviewing director Christopher Smiths' latest, because as soon as I sat down to watch Rebirth, writer-director Karl Mueller's new film about a suburban office drone sucked into a nightmare spiritual retreat, Severance was on my mind once again. Rebirth is never half as nasty as that film but the dots are there to be connected. This, too, is a satire most black about the search for that something greater than the proverbial pushing of pencils.

Kyle (Fran Kranz, Whedonite staple) starts the movie with a life that's tossed off in one of those meaningfully repetitive montages straight out of Fight Club. You know the type: coffee, car, cubicle, coffee, car, cubicle, and on and on to a not-early-enough grave...

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