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Interview with Gan Jianyu, director of Vortex October 5, September 16, Review of Vortex directed by Gan Jianyu August 19, The less known about the plot, the better; for those curious, the story revolves around a small village named Bacurau in Brazil that experiences strange goings-on following the death of their matriarch.

This synopsis is the barest of bones for what turns out to be the main crux of the story; however, the film is in no hurry to get there, and instead focuses on exploring the eccentric cast of characters. And what a bunch they are. The tight-knit community of Bacurau is the key to making the entire film work, and the cast has chemistry in spades, and if it were to be revealed that the village and its inhabitants were lifted from reality, this would be completely plausible — such is the way they interact with one another.

As more of Bacurau unfolds and we take a brief detour from the village, the pace does slow slightly as the necessary unveilings begin to take place.

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‘The Fatal Contract’ Completely Misuses its Intriguing Gothic Premise

However, moments away from the core group are smartly kept to a minimum. Secondary characters led by Michael Udo Kier are played far more overtly — close to scenery-chewing — but are restrained enough to not stick out like a sore thumb. And whilst surreal, the film treads a fine line without dipping into absurd. The surreal, combined with its gorier aspects, makes it destined for cult status. The shaky, eerie and at times documentary-style camerawork, practical effects, and the age-old trick of suggestion help lend the film an alarming and utterly believable quality.

The plot is fairly barebones, following five young co-eds, who while on a road trip, cross paths with a murderous redneck cannibal family. If the southern discomfort sounds all too familiar, that is only because countless horror films have since followed the exact same formula: a car breaks down, a group of teens seeks help, only instead they find death in the hands of one or more psychopaths.

Watch the clip below. Over the past few years, horror has had somewhat of a resurgence. Following the likes of The Babadook and Hereditary , Wounds also attempts to get under your skin and into your mind. Unfortunately, it barely touches the surface. Will Armie Hammer is a Cool Guy.

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When some college kids leave a phone in the bar in which he works, he discovers some disturbing images, and the comfortable life he leads with girlfriend Carrie Dakota Johnson begins to unravel. There is no sense of responsibility from anyone, and one wonders how Will and Carrie can afford their beautiful apartment on the salary of a bartender. Other characters wander into the movie and then back out as if they never existed the very talented Zazie Beetz is underutilized and underserved ; the aforementioned college kids arrive at the bar towards the beginning of the film, but disappear shortly after.

They may have an end goal, but the motives behind it are never established. If this was a story exploring how the actions of adolescents in scary movies affect not just them but also those around them, it would be far more interesting. Inexplicable as that may be, it is hardly the most baffling occurrence here. In fact, both he and Carrie meet the bizarre happenings surrounding them with complete nonchalance — to often unintentionally hilarious results.

Most of the laughs in Wounds come from terribly written dialogue. In the Shadow of the Moon , which recently arrived on Netflix after bowing at the Fantastic Fest in Austin, is a deeply weird, but ultimately enjoyable mashup of several genres.

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Also, despite its title, its sci-fi elements, and its arrival in the 50th anniversary of the moon landing, In The Shadow of the Moon has just about nothing to do with the moon. The film, which has set off a bit of a frenzy on social media as viewers devoured its surprise ending, was directed by Jim Mickle, best known for directing We Are What We Are , the horror movie that remade a Mexican film of the same name.

In The Shadow of the Moon focuses on a Philadelphia cop named Lockhart Boyd Holbrook , who in is hoping, along with his partner Maddox Bokeem Woodbine to make detective, while awaiting the birth of his first child. She also appears in multiple time periods, always ready to kill. Each segment of the film is set in a different year, as the plot begins with massive terrorist attacks in the future, and then jumps from to to to even further in the future.

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Throughout it all, Rya keeps reappearing even after she appears to be dead. It all leads up to both time travel paradoxes and a series of ethical-moral dilemmas, as introduced by a scientist Rudi Dharmalingam , most of which sounds an awful lot like stoned dorm-room bull sessions. Holbrook, who is 38, is convincing at several different ages, even if his performance never does much to transcend the well-worn cliches of this type of cop film.

Woodbine, so wonderful a couple of years ago in the Fargo TV show, shines here in an all-too-brief role. As for that surprise ending, it appears to be making heads explode across Twitter, although I guessed it at some point during the second act. Mickle, the director, is from Pottstown, outside of Philadelphia, and likely set the film in Philly for that reason.