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Last modified on Tue 16 Mar 2021 07.01 EDT âYour dad kept you locked up in an old house,â a character drunkenly blurts out in this adaptation of Kelly Braffetâs gothic novel about childhood misery and brother-and-sister incest. âItâs soooo Flowers in the Attic.â If only! The most shocking thing about this movie is how stale and lifeless it is, as if entire scenes had been placed into a vacuum storage bag, zipped up, and sucked of all energy and human feeling. Set in the 1990s, it begins in rural Pennsylvania where 16-year-old Josie (Olivia DeJonge) and her older brother Jack (Alex Neustaedter) have been raised in a spooky old house by their physics professor father (William Fichtner). Heâs a violent pompous drunk who homeschools the kids rather than sending them to âthe idiot factoryâ local high school. In a few flatly acted scenes, he rants grandiosely about his university colleagues and hurls crockery at his children. ....
But intriguing though its premise is, I couldnât really make friends with this film. Two characters meet in New York and fall in love, but we never see them (though we maybe glimpse them). We do however hear their voices on the soundtrack, musing and commenting. One is Wilson (Marcela Souza e Silva), a Brazilian migrant worker who is in fact about to return to Brazil due to worrying news from home; the other is Lamis (Mary Ghattas), a Lebanese single mum. What we see is the city around them: ambient streetscapes. But it is not true to say that we see what the characters see, because, in this sense, they never see each other or catch sight of themselves in any mirror. We hear their voices, and also that of a central narrator (Grace Passô), but these voices are strangely unanimated. The actors simply read aloud what are evidently Wilson and Lamisâs thoughts, or possibly journal entries, or emails to each other, which are musing and ruminative. The line-readings are ....
Last modified on Wed 3 Mar 2021 06.00 EST Remember all-consuming crushes and awkward first dates? For young people in this age of self-isolation, such tender encounters might well be from another century. Chronicling a young lesbian romance set in a wintry Brighton, Justine is the remedy to the lack of such human contact. But itâs not all coffee dates and beach cuddles: this film is also a window on the harrowing cycle of addiction among displaced young adults. Justine (Tallulah Haddon), on probation and cut off from her family, is in a state of disarray. Awakened by loud bangs from the door â her landlord is asking for this monthâs rent â Justine staggers dazedly, and fully clothed, out of the bath. Her lips bear a nasty cut, and her left arm is covered in swathes of white bandages. This dire scene opens to a more hopeful past, only three months earlier, when Justine first locks eyes with Rachel (Sophie Reid), a teacher-to-be, in a bookstore. Harsh fin ....
Last modified on Mon 1 Mar 2021 15.31 EST Tony Stoneâs Ted K is an eerily plausible and unsettlingly mesmeric realisation of the inner world of Ted Kaczynski: that is, the private life of the âUnabomberâ, Americaâs most notorious domestic terrorist who, working largely from his primitive cabin in the Montana wilderness, killed three people and injured 22 more in a mail-bombing campaign lasting from 1978 to 1995, ostensibly in pursuit of an eco-fundamentalist crusade against all modern technology. Staggeringly, his campaign induced the Washington Post in 1995 to publish his rambling manifesto in return for a promised cessation of bombing. Something which had seemed like a catastrophic capitulation to terror turned out to be a smart move against it, when Kaczynskiâs estranged brother recognised his writing and alerted the authorities. As ever with true-crime movies like this, good or bad, there is a strange, transgressive and slightly nauseous undert ....