I’ve often been asked why I have such an affinity for the horror genre. My answer is always this: Because it reflects the fears that are currently haunting society. There is simply no other genre better at making social commentary than horror. The film essay, “Our Scary Summer: 1979,” outlines precisely this. You should watch […]
If you haven’t figured it out through previous posts of mine, I’m fascinated by the ingenuity and brilliance of film directors and the people they work with. I’m biased, but I do think that film is by far the most challenging and rewarding of the arts. It’s one of the only art forms that can easily transcend societal barriers. The only other art I’d consider to have such an effect is music, but what’s unique about cinema is that it’s inclusive of all art forms. You will find that the fine arts, music, photography, and writing all play an integral role in the creation of a quality film.
Bergman’s use of deconstruction is an interesting approach to take in filmmaking, and it’s certainly not something that can be easily accomplished without coming off as tacky or overly pretentious. A less attentive director would certainly fail at throwing such an avant-garde aspect into an otherwise typical narrative film, but Bergman is no hack.
The Hostel series has been a lot of things: gory, over-the-top, even raunchy, but I never thought it would be boring. Except that’s exactly how Hostel: Part III left me: bored, apathetic, and unabsorbed.
Unfortunately, The Awakening is nothing more than a beautifully shot film with a subpar storyline. There is nothing inherently scary and the jump scares are entirely too predictable. The Awakening comes fully equipped with claustrophobic shots marked by obscured framing that emphasizes the elusiveness and mystery surrounding Florence’s past.