Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

Doctor Sleep

Rated: MA15+Doctor Sleep

Directed by: Mike Flanagan

Based on the Novel Written by: Stephen King

Screenplay Written by: Mike Flanagan

Starring: Ewan McGregor, Rebecca Ferguson, Kyliegh Curran, Cliff Curtis, Zahn McClarnon, Emily Alyn Lind, Selena Anduze, Robert Longstreet, Carel Struycken, Catherine Parker, James Flanagan, Met Clark, Zackary Momoh, Jocelin Donahue, Dakota Hickman.

Doctor Sleep is the sequel to Stephen King’s famous novel, The Shining (1977).

The film here, follows on from director Stanley Kubrick’s 1980 classic, never-to-be-forgotten interpretation featuring the axe-wielding Jack Torrance (Jack Nicolson) – ‘Here’s Johnny!’, opening in Florida, 1980, where Danny Torrance (Ewan McGregor) lives with his mother far away from any snow, far away from the Overlook Hotel.

But the Overlook Hotel hasn’t forgotten him or his Shining.

Using his magic tricks Danny manages to keep the monsters locked away.  But he can’t escape his own demons or the rage he inherited from his father.

Like the novel, addiction continues to plague Dan.  Except this time, we see his addiction and his journey to recovery.

Running away Dan can’t escape from himself but he finds compassion and through compassion he finds himself.

Looking for another bright light, Abra (Kyliegh Curran) finds a shining kindred spirit in Dan.   She introduces herself, writing, Hell😊

Following the detail of the novel we find Rose The Hat (Rebecca Ferguson) and her crew of empty devils who are the, True Knot who are also looking the next bright shining light.

This band of monsters are hunting those most pure.  Children.

‘Live long, stay young. Eat well,’ says Rose The Hat.

And Abra might be the most pure and brightest of all.

So there’s addiction, then redemption, compassion and all the grime of child-killing-devils contrasting to give the horror more kick.

But it’s not all black and white.

Screenwriter and director Mike Flanagan has captured the different layers of character that Stephen King writes so well (and why I’m such a fan), so Dan has his dirty deeds and the evil Rose The Hat is somehow likable in her loyalty to those in her inner circle.

And it’s a good story.  Shown well.

The soundtrack is restrained yet powerful as a heart beats steady, creating a suspense in the waiting that hangs when the beat stops so I could feel and hear my own heart, waiting for the next door to open, the next magic trick.

The stars wheel, gravity shifts, turning a room to slide into another place.

Yet the trickery isn’t over-done.

Flanagan has managed to get the detail of the novel without losing sight of the story.

I really enjoyed the book and have read it twice so I was hoping for a worthy adaptation.

And I got it.

Pain and Glory (Dolor Y Gloria)

Rated: MA15+Pain and Glory

Written and Directed by: Pedro Almodóvar

Produced by: Agustín Almodóvar

Executive Producer: Esther García

Original score: Alberto Iglesias

Director of photography: José Luis Alcaine

Starring: Antonio Banderas, Asier Etxeandia, Leonardo Sbaraglia, Nora Navas, Julieta Serrano, César Vicente, Asier Flores, Penélope Cruz.

Spanish with English subtitles.

‘If you don’t write or film, what do you do?’

‘Live, I guess.’

Pain and Glory is a drama, a life story shown in monologue and intimate conversation.

Salvador Mallo’s (Antonio Banderas) life is filled with patterns and colours, water and tiles, suspension and scars.

The story of the film circles his life as he remembers teaching a young builder to read and write when he was growing up in the catacombs with his mother, as he remembers his career writing and making films and the past disagreements with friend and actor, Alberto (Asier Etxeandia) whom he hasn’t seen since the premiere of his most successful film thirty-two years ago.

He remembers as the pain of his ailments take pieces from him, his back pain, his migraines, his choking – he can’t create anymore, but he can remember.

This is a film that bleeds the present and the past so the trigger of smoking heroin with the man described, ‘You’re the opposite side of that text,’ Salvador falls, taking him back to the time when he experienced his first desire, his first love, the escape from the ‘bad ring’ of Madrid, to get away from the temptations of addiction to Havana and the Ivory Coast.

But sometimes, love isn’t enough.

He has no regrets.  To recover from his past, he writes the story.

So the past and present are intertwined like his writing translated into this film.

Director and writer, Pedro Almodóvar has taken pieces from his own life, translating them into the film like the character Salvador makes films about his past.

The hair, the setting of the apartment the same as the man himself, Pedro.

Antonio Banderas has just won the Cannes 2019 Best Actor Award (the film selected to compete for the Palme d’Or) for his performance here.  And I can see why.  He just seems to get better with age.  His humble sincerity a warmth felt through the screen.  He’s endearing.

And there’s more to the film than a character study as the scenes cut from the bright sun shining through the exposed roof of the catacomb house, to the animation of red broken lines like the branches of a tree exploding in the drawn lines of a brain, a contrast to the quiet suffering of a man embarrassed of his pain, refusing to allow his housekeeper to tie his laces, wearing loafers, catching taxis, lying in the dark.

But there are no complaints as he loses himself in memory.

This isn’t a sad film, more a poignant tale of all the darkness and light in life – sad and happy and true.

The overriding feeling I got from this film was grateful: life can be cruel, but it can also be kind.

Fisherman’s Friends

Rated: MFisherman's Friends

Directed by: Chris Foggin

Written by: Piers Ashworth, Meg Leonard, Nick Moorcroft

Produced by: Meg Leonard, Nick Moorcroft, James Spring

Music by: Rupert Christie

Cinematography by: Simon Tindall

Starring: Daniel Mays, James Purefoy, David Hayman, Dave Johns, Sam Swainsbury, Tuppence Middleton and Joel Clarke.

‘Never under any circumstances say, “Rabbit”.’

Revelling in Port Isaac for Henry’s (Christian Brassington) stag weekend, the London boys, Danny (Daniel Mays), Driss (Vahid Gold) and music exec and boss, Troy (Noel Clarke) are ready for some larger and yachting.  Until they end up stranded at sea and getting ‘quite burnt’.

It’s up to the local Search And Rescue to fish to them to safety.  Ironic being the crew are the local fishermen.

It’s like two different worlds collide: the city boys who own country estates and work for a record label and fishermen who risk their lives every day and sing sea shanties.

When the London boys come across their rescuers singing in the town square, boss Troy thinks it’ll be hilarious tasking Danny with signing the group to their label.  Only for Danny to see more than just crusty fishermen signing, he hears history in their voices.

‘What’s that song?’ Danny asks Alwyn (Tuppence Middleton), the daughter of man-of-few-words, the words never wrong, Jim (James Purefoy) – ‘That’s the rock’n’roll of 1752.’

Based on a true story, Fisherman’s Friends is about the discovery of these ten men, and the journey from singing to raise money for the village Lifeboat Association to a million pound record deal with Universal Music, a top-ten album and playing the Pyramid stage at the world famous Glastonbury Festival.

But there’s more to these crusty sailors than a fine set of pipes.  There’s the history, the proud Cornwell folk defining those on this side of the river Tamar, and them on the other side – like the emmets (the Cornish word for ants): those who come across and are a pain to get rid of.

There’s some PG humour that doesn’t get too carried away, to keep the boat floating along the storyline – see what I did there?  Yep, that’s me getting carried away with the nautical theme because I enjoyed the ride, damn it.

The film reminded me of the songs we’d sing in primary school (What Shall We Do With A Drunken Sailor included) and dancing to folk music with kids from other local schools.  And the gymkhana with the bag pipes and dog jumping competition.

It reminded me about community and generations of families buried in the same cemetery and knowing a place.  Really knowing a place and people knowing you.

So rather than the underdogs winning and signing to that record label, there’s thought to place and where we stand in it and being able to take a man by his own merit.  Including Jago (David Hayman), Port Isaac’s number one bingo caller.  Bless him.

So yeah, I got a little swept away in the story.

And the guys did a good with the singing, no ‘taking the piss’ required.

Ready Or Not

Rated: MA15+Ready Or Not

Directed by: Matt Bettinelli-Olpin and Tyler Gillett

Written by: Guy Busick & R. Christopher Murphy

Produced by: Tripp Vinson, James Vanderbilt, William Sherak and Bradley J. Fischer

Executive Producers: Chad Villella, Tara Farney, Tracey Nyberg and Daniel Bekerman

Starring: Samara Weaving, Adam Brody, Mark O’Brien, with Henry Czerny and Andie MacDowell.

The family known as Le Domas has been playing Le Bail’s Gambit since Great Grandfather Le Domas made a pact with Le Bail himself.

Marrying Alex (Mark O’Brien) and into the ‘dominion’ that is the Le Domas family (that fittingly made their fortune out of board games), the pact demands that initiate Grace (Samara Weaving) (and any new addition to the family) must play a game at midnight on the night of her wedding.

She loves Alex despite his weirdo, super-rich family.

So playing along with strange traditions to get along?  Pft!  Sure, why not?!

But when she draws that, ‘Hide and Seek’, card; and that playful, ‘Hide and Seek’ record starts spinning, the weirdo family hunting the new bride through the gothic rooms and corridors of the house, to capture her as a sacrifice, takes issues with the in-laws to a whole new level with each armed and at the, well, ready:

Mother to Alex and kinda sweet, Becky (Andie MacDowell): Bow & Arrow

Rich and crazy dad, Tony (Henry Czerny): Winchester Rifle

Tormented and alcoholic brother, Daniel (Adam Brody): Rifle

Ops, I did it again, sister-in-law, Emilie (Melanie Scrofano): Pistol

How does this work again? Fitch (Kristian Bruun): Crossbow

I was born evil, Charity – there’s the irony (Elyse Levesque): Spear Gun

The adage that people look like their pets but here I look like my weapon, Aunt Helene (Nicky Guadagni): Battle Axe.

If you’ve read this blog before you’ll know I like a good bloody horror with a dry sense of humour.

I can say there’s certainly some bloody moments here, tending to the visceral.

And the humour, although slightly over-done, had me smirking with a few snorts (not unlike Grace herself who isn’t against a snorting laugh when called for): brother in-law, Fitch Googling, ‘getting to know your crossbow’ before his attempt to murder his new sister in-law.  And then there’s death-stare Aunt Helene giving the salutation to niece, Emilie (Melanie Scrofano), ‘You continue to exist’.

Perhaps not a laugh-out-loud tickle (more WTF is going on but I guess I’ll just have to roll with it), there’s a lot of fun here, played with wide-eyed and cool appreciation from Samara Weaving as the fighting-for-her-life and screaming-when-necessary, Grace.

And there’s a decent storyline that edges towards some twists but really more about the beautiful and self-deprecating, Grace.  You want her to get out alive, which is the kinda the point of the movie.

Violence Voyager

Rated: Unclassified (18+)Violence Voyager

Written and Directed by: Ujicha

Produced by: Yoshimoto Kogyo, Reo Anzai / Kimitsugu Ueno

Executive Producer: Hidesuke Kataoka

Music by: Jean-Paul Takahashi

Theme Song “Violence Voyager” by Boby (Aoi Yuki)

English Voice Director: Strathford Hamilton

Production: Hiroshi Fujiwara

Key Cast: Aoi Yûki, Naoki Tanaka, Saki Fujita, Shigeo Takahashi.

‘That one extra bit of summer fun was going to take Bobby through hell.’

Violence Voyager had its Australian Premiere at the recent MIFF – I thought it would be a good idea to review something different for upcoming Halloween.  And yes, Violence Voyager is certainly something a bit different.

Set-up like a childhood adventure story, Bobby (the foreign American kid) tells his sick mother he’s going out to find flowers for her empty valse sitting on the windowsill.  But really, he’s going to the mountain with his best buddy, his blood brother (sporting stitched cuts on their hands to prove it) Akkun – who also, strangely has what looks like scars on his forehead.

Added to the childlike voice-overs and the adventure aspect that includes Bobby’s cat, Derrick who tags along, the whole film is painted cardboard cut-outs with static facial expressions, the movement made by hand like kids playing with a shadowbox filled with toys.

But when the trio, Bobby, Akkun and Derrick-the-cat find a run-down Fun Park, the film becomes a nightmarish hell where kids never escape: they either become modified with all their nerve endings on the outside and their eyes pulled out of their sockets and placed on horizontal sides of their now square face, or they get dissolved to become food for half-robot hybrid human monsters under the command of park-owner but really scientist, Dr Binobo and daughter and navigator, Siori.

There’s a deceiving simplistic feel about this film, the voice-over slow and deliberate, the timing of the dialogue giving the most affect.

But there’s plenty of splattered blood and vomit and naked kids hung like hocks – the theme horrific and the images of those cardboard cut-outs bizarre.

Definitely not one for the kids to watch this Halloween.  I wouldn’t classify Violence Voyager as ‘Family’.

Yet, for all its horror, the film was palatable because I was always delighted to see another clever technique giving texture to this bizarre tale like blue vapour rising around the cardboard Dr. Binobo making him look evil, a rising shadow over the cardboard Bobby to depict a pending doom and the kids armed with a super-soaker and dolphin water pistol squirting real water onto those monster robots giving the scene another dimension like those pop-up books I read in primary school.

And that juxtaposition lent another layer to the bizarreness of this simply, horrifically clever film.

With a bat, monkey and cat on your team, you can’t lose – well you can still become a deformed robot, humanoid monster, but in the world of Violence Voyager, that’s a win.

Blinded By The Light

Rated: PGBlinded By The Light

Directed by: Gurinder Chadha O. B. E, Paul Mayeda Berges

Written by: Gurinder Chadha O.B.E, Paul Mayeda Berges,

Based on the book, ‘Greetings from Bury Park (2007)’ written by: Sarfraz Manzoor

Produced by: Gurinder Chadha O.B.E, Jane Barclay, Jamal Daniel

Executive Producer: Paul Mayeda Berges

Starring: Viveik Kalra, Kulvinder Ghir, Meera Ganatra, Hayley Atwell, Aaron Phagura, Nell Williams, David Hayman, Dean Charles Chapman, Tara Divina, Rob Brydon MBE and Jeff Mirza.

‘Tell the world something it needs to hear.’  That’s what Javed’s (Viveik Kalra) English teacher (Hayley Atwell) tells him.

And Javed has plenty to say being a Pakistani growing up in Luten in the 80s.

He writes poems in his diary.  He just doesn’t think anyone’s ever going to understand him.  Until Roops (Aaron Phagura) lends him two cassette tapes of The Boss himself: Bruce Springsteen.

I walked into, Blinded By The Light thinking there was going to be more comedy; and there’s some funny moments with the 80s style used well like the revelation of a hideous t-shirt described part Princess Diana and part Tina Turner…

But this is 80s England, with Thatcher in the midst of her third term, millions out of jobs and racism rampant.

It’s hard enough being a teenager without seeing some racist bastard pissing through the mail slot of the front door or spitting in your face.

The film’s also about family; the authoritative father, the trying to break away from all the expectations of parents and living in a home that has very different rules and expectations than the other kids in school.

I got reflective.  And a little teary, I admit.

I was never exposed to The Boss growing up and never chose to seek out his music.  Now, I seem to be coming across him a lot (see, Thunder Road).

The more I come across this guy, the more I realise the effect he’s had on people’s lives.

I grew up in the country.  I know what it feels like to be trapped, to feel so weak you want ‘to burn down the town’

And like this expression, Blinded By The Light uses the music and especially the lyrics of Bruce Springsteen to give voice to Javed.

It’s like the music is speaking, just to him.  Saying, singing everything he’s feeling so Javed sings the words to the girl he has a crush on (Nell Williams), to the people in his way as he runs with his mate and fellow fan, Roops from the school after they’ve set Springsteen playing over the school sound system, because yes, this is a musical, but it’s a hybrid of a musical because instead of using Springsteen just as a soundtrack, Javed sings Springsteen’s lyrics like a dialogue to say how he’s feeling instead of just, saying how he’s feeling.

So I guess, yeah it’s a musical.

It sounds like it would look stupid (the storm scene and discovery of Dancing in the Dark more like theatre than film), yet Viveik Kalra as Javed is such a sweetie, he gets away with it.  And I appreciated the text on screen to show the lyrics to make sure the message was understood by the audience.  I admit I didn’t realise Springsteen was so deep:

Blow away the dreams that tear you apart Blow away the dreams that break your heart

Blow away the lies that leave you nothing but lost and brokenhearted

The dogs on Main Street howl

‘Cause they understand

If I could take one moment into my hands Mister I ain’t a boy, no I’m a man

And I believe in a promised land.

I feel like there are a lot of these musical hybrid films around lately and I wasn’t completely convinced about The Boss obsession would make such a difference to a person’s life.  That’s my cynicism speaking.  Because the film is based on the true story and novel, ‘Greetings from Bury Park’ written by Sarfraz Manzoor.

Springsteen has read the book.  After meeting Manzoor he said he loved the book and was happy for the film to be made.  Seriously, what a legend.

Gemini Man

Rated: MGemini Man

Directed by: Ang Lee

Screenplay by: David Benioff, Billy Ray and Darren Lemke

Story by: Darren Lemke and David Benioff

Produced by: Jerry Bruckheimer, David Ellison, Dana Goldberg and Don Granger

Executive Produced by: Chad Oman, Mike Stenson, Guo Guangchang, Brian Bell, Don Murphy

Starring: Will Smith, Mary Elizabeth Winstead, Clive Owen and Benedict Wong.

Viewed in 3D+ (120 FPS)

After 72 kills, Henry Brogen (Will Smith) feels like his soul hurts.

It’s time to retire from the DIA and find something else he’s good at.  Something where he feels like he can look in the mirror again.

But when he finds there are complications to his last assignment, Clay Verris (Clive Owens), head of the shadow group who turn soldiers into killers, AKA Gemini, isn’t going to make retirement an option: soldiers who grow old and discover they have a conscience are no longer viable. Clay stating: ‘Mutts like Henry were born to be collateral damage.’

Clay had planned ahead, cloning the best in the business so when Henry outlasts his use, there will be someone to take his place: Junior.

With Agent Danny Zakarweski (Mary Elizabeth Winstead) by his side, Henry fights for his life against the only adversary good enough to stand a chance at beating him – his younger self.

From Belgium to Colombia to Hungry, director Ang Lee has set up some amazing shots featuring motor bike acrobatics, intense fight scenes and explosions, all good action while leaving the violence implied (hence the M rating rather than the MA15+).

But the real point of difference is the tech.  Not only is Junior a computer-generated creation (by Weta Digital), the whole film is shot in 3D at 120 frames per second (instead of the usual 60).

That extra resolution isn’t a gimic either.  I have never watched anything so clear, so pristine.

I was glad the bloody was kept to a minimum as it would have been too much.

Instead, Ang Lee uses the tech to show shots underwater, looking up, and spits of sparks off helmets as bullets ricotte, as kerosene tins blow and to see those fight scenes between Henry and his clone so you feel like you’re right there with them.

What surprised me was how that clarity left no room for discord or error in the acting.  There is absolutely no where to hide so any false expression or off-key moment would have shouted through the screen.

Instead we get Mary Elizabeth Winstead as the very likeable side-kick, Agent Danny; and Clive Owens as the fierce villain, Verris.

And Will is at his finest here, his sincerity coming through clear, his skill as a killer shot coming through like his role as Deadshot in Suicide Squad.

The more I see this guy, the more I like him.

It has to be said some of the humour felt like filler for the dialogue.  Just a bit – more, I’m-happy-go-lucky in a tight spot and that’s funny, rather than, jokey jokes.  If you get what I mean.  Which probably fit the tone of the film which gets borderline soft cheese with that added bit of drama.

But I enjoyed the film.  And really got into the  visual difference on screen.

Ang even goes so far as to include a scene that shows a set used as a military exercise, shooting and explosions, to show the difference between fake and his actual movie that looked more genuine and authentic.  Tricky stuff!

The whole film is filled with tricky that successfully leads to an entertaining movie.

Hustlers

Rated: MA15+Hustlers

Written and Directed by: Lorene Scarfaria

Inspired by the Article Published in New York Magazine, “The Hustlers at Scores”, Written by, Jessica Pressler

Produced by: Jennifer Lopez, Benny Medina, Will Ferrell, Adam McKay

Executive Producers: Robert Simonds, Adam Fogelson, Megan Ellison, Alex Brown, Pamela Thur

Starring: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Mercedes Ruehl, Cardi B, Lizzo, Mette Towley, Madeline Brewer and Trace Lysette.

Destiny (Costance Wu) – definitely a stripper name – is the new girl.

She’s followed the green brick road, all the way to the city.

She’s got some moves, but nothing like Ramona (Jennifer Lopez) who has Wall Street guys throwing fists full of cash on to the stage as she performs moves like the carousel, fireman, front hook, ankle-hook, and stag (It has to be noted Jennifer Lopez had to train for six months to be able to pull-off the pole dancing moves in this film which says something about the athleticism required to be a good stripper…).

Destiny could learn a thing or two from Ramona.

And literally taking Destiny under the cover of her fur jacket, together they make a bodacious, money-making partnership – until the dreaded financial crash on September 29, 2008.

When all the money disappears, the girls have gotta get creative.  Cut a few corners.

They gotta hustle those Wall Street guys, clean out their bank accounts by any means possible; and then, keep them coming back.

It’s a fun ride watching these guys get fleeced.  But also a little sickening, demonstrated by youngest member of the crew, Annabelle and her puking whenever things get real, or even just a little stressful.

It’s a world of hustle or be hustled.  A world based on the true story written by Jessica Pressler, in her article, “The Hustlers at Scores”.

We see the reality of stripping, the behind the curtain in the dressing room moments where being sexy for a living doesn’t necessarily mean there’s always sex – one stripper admitting she hasn’t had sex for two years, while another introduces the girls to her new boyfriend, a pink vibrator.

And sure it’s about the money, about the shopping, but also about Destiny not wanting to rely on anyone and wanting to look after her Grandmother.  And Ramona wanting to look after her daughter, to give her everything – she even admits that motherhood is a mental illness that will make you do anything for your child.

It’s all anyone wants.

And in America, where those who hustle get rewarded, where banks who rip off the little people get let off because they’re too big to fall – stripping, stealing, hustling sure beats making minimum wage.

Director and writer Lorene Scarfaria doesn’t let the whole stripper thing get in the way of a good drama or try too hard with the sexy stuff.  It’s more about the tongue-in-cheek humour and friendship between Destiny and Ramona and following a path to get what you want not realising how dark that path is.  It’s survival.  It’s all dark.

Scary Stories To Tell In The Dark

Rated: MScary Stories To Tell In The Dark

Directed by: André Øvredal

Written by: Dan Hageman & Kevin Hageman

Screen story by: Guillermo Del Toro and Patrick Melton & Marcus Dunstan

Based on the series by: Alvin Schwartz

Produced by: Guillermo Del Toro, p.g.a., Sean Daniel, p.g.a., Jason F. Brown, p.g.a., J. Miles Dale, p.g.a., Elizabeth Grave, p.g.a.

Executive Producers: Peter Luo, Joshua Long, Roberto Grande

Starring: Zoe Colletti, Michael Garza, Gabriel Rush, Austin Abrams, Dean Norris, Gil Bellows, and Lorraine Toussaint.

“Sarah Bellows, tell us a story.”

Scary Stories To Tell In The Dark pieces together the fabled fiction of Alvin Schwartz (who wrote the series), where screen story writer Guillermo Del Toro (along with Patrick Melton & Marcus Dunstan) hang the film on the idea that: “Stories can hurt, and stories can heal”.

Set in 1968 where, ‘If it’s in the newspaper it has to be right,’ but really there’s a lot wrong, like the Vietnam War and the fact Stella’s (Zoe Colletti) mum has left her with her dad (Dean Norris); Stella’s only friends in the world, Chuck (Austin Abrams) and Auggie (Gabriel Rush).

But having buddies makes life easier to live until they decide to show new-kid-in-town Ramón (Michael Garza) the Mill Valley haunted house. On Halloween.

The story of the haunted house being the young daughter, Sarah Bellows was a child killer.  That she killed the children of Mill Valley who listened to her scary stories on the other side of the wall of her locked room.

Her family hid Sarah away because they said there was something very wrong with Sarah.

So when Stella finds Sarah’s book of scary stories in the haunted house, she thinks it’s a good idea to take it home to read.  She’s a writer too.

Then new stories start appearing in the book.  New scary stories like, ‘Who took my toe?’.  It’s worse than it sounds.  Particularly when the stories start coming true.

Scary Stories To Tell In The Dark feels like one of those coming-of-age movies but really, it’s a scare-fest with body parts that come to life and bugs crawling out of empty eye-sockets.

The monsters are impressive with director, André Øvredal not holding back on the nightmarish imagery, while adding subtle details like the skin chewed around Stella’s fingernail.

I was absorbed and surprised as monsters came to life in cornfields and glaring red-lit corridors… But then the film became a crusade.

The story still holds and hey, it had to go somewhere; but I just couldn’t put myself into the shoes of Stella because there didn’t seem to be any fight or build to the strength of her character.  How did this kid suddenly get to be so strong?

Ad Astra

Rated: MAd Astra

Directed by: James Gray

Written by: James Gray & Ethan Gross

Produced by: Brad Pitt, Dede Gardner, p.g.a., Jeremy Kleiner, p.g.a., James Gray, p.g.a., Anthony Katagas, p.g.a., Rodrigo Teixeira, p.g.a., Arnon Milchan

Starring: Brad Pitt, Tommy Lee Jones, Ruth Negga, Liv Tyler, and Donald Sutherland.

‘I will not be vulnerable,’ says Roy McBride (Brad Pitt) in a monologue that threads the story of the film together; it’s a voice that measures the thought processing behind those blue eyes with green specks.  A thought-process hidden, because the person Roy shows to others is a performance, ‘my eye always on the exit.’

Set in the near future, Ad Astra is a mystery set in space, the story based in commercialised space travel to the moon, to rockets that blast toward the human inhabitants of Mars, to go further, for Roy to reach Neptune in search of his father who began the Lima Project thirty years before; his father’s purpose: to find evidence of extra-terrestrial life.

Instead of science fiction and the practicalities of space travel or even the exploration of physics to understand human existence, Ad Astra, at its heart, is a drama.

There was plenty of opportunity to get technical, but the film skips over the science behind the impending disaster from outer space so the story jumps while the movement in space is slow and calculated.

So although there’s a disturbing beauty to the tense moments of guns fired from space rovers and visually stunning scenes of a reflection of darkness across the orange visor of a helmet that looks like a faceless being, I felt like the story was missing the factual backbone to hold up the idea of the mysterious father figure who has dedicated his life to science and space exploration.

Ad Astra is not a journey into space but for Roy to find his way back to humanity.

The story circles around to give some satisfaction, to be able to, Let go.

And there’s so much going for the film with the build of tension with the low vibrating soundtrack of a siren; with those crime thriller moments set in space with the slow danger of being in an environment with toxic air, without gravity – in a place no other living Being has ever been found.

But for me, those amazing moments of suspense combined with the beauty of space on the big screen would have been so much more astounding if the story dug just a bit deeper into the physics of the environment – that would have made the film more believable while adding that extra layer to the drama of the story.

Still, an interesting change in pace that adds a mysterious twist to the thriller genre.