In 1999 M. Night Shyamalan shook the world with his movie The Sixth Sense. Nor did the studios expect the then-young director’s film to perform the way it did in theaters. Revenues exceeded 600 million dollars and, in the VHS, and DVD rental market, it was requested by more than 80 million people. The psychological horror-thriller drama thrust the director into the spotlight and enshrined him in almost immediate cult status.
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Darren Aronofsky’s universe is one of the most interesting. The New York filmmaker has always challenged the audience with his proposals. The Whale (2022) is his most recent film and with it, he reaffirms the previous approach, after causing a sensation at the Venice and Toronto film festivals, the film began its commercial circuit. All eyes have focused on its protagonist Brendan Fraser and specialized critics have not stopped insinuating that Fraser has conceived the best role of his career. Aronofsky has faded into the background while the shadow of his Whale seems to overshadow him.
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Finding the stories is the easy part. The difficult thing is to tell them in such a way that they become relevant. Michael Morris’s debut feature To Leslie (2022) does just the latter. The family drama of his story transcends by the way it is told and by the precision with which the narrative rhythm is carried out. When we approach the film, we can feel that what it is going to tell us is too familiar, that there is room to fall into the trite, but Morris’s hand is firm, and he relies on a magnificent cast to make his bet a winner.
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Why don’t you ever tell us that you are poor devils like us, that your mothers are as anxious as ours, and that we have the same fear of death, the same end, and the same agony?
Erich Maria Remarque
Perhaps Erich Maria Remarque would have wished he had never had the experiences that inspired his transcendental novel. All Quiet on the Western Front marked a turning point in the world of literature and its adaptation for the cinema in 1930 by Lewis Milestone paved the way for anti-war films. Director Delbert Mann also adapted Remarque’s play into a television movie in 1972. Now it’s Edward Berger’s turn, almost a hundred years after the first adaptation hit the big screen.
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Just like that family sitting peacefully having their breakfast with the French Alps in the background when suddenly an avalanche shakes their world and changes it forever, that’s how Ruben Östlund shook me with his Force Majeure (2014). From that moment it has been an obligatory task to follow in the footsteps of the Swede. Triangle of Sadness is his sixth feature film. With the sharpness that characterizes him, he delivers an irreverent comedy that takes advantage of every minute to compose a social critique.
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The Last Movie Guy 