KNOCK AT THE CABIN NEW website review by Cassandra Joy
A calm and ominous opening scene leads into a very intense,unexpected and rather curious ending! Knock at the Cabin is a 2023 American apocalyptic psychological horror film written and directed by the talented M. Night Shyamalan.
Knock at the Cabin adapts a 2018 novel by Paul Tremblay, The Cabin at the End of the World. The film stars Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn and Rupert Grint. In the film, a family of three are vacationing at a remote cabin. Soon after, this family is suddenly held hostage by four strangers, who demand they sacrifice one of their own to avert the apocalypse. Making an unthinkable choice to avert an apocalypse is almost a laughable concept at first until sacrifices start happening. Time is running out to decide the fate of the world. Limited access to the outside world causes confusion, agitation and fear ! Doomsday cult or the last stand against what could be the end of the world! The longer the family takes to decide who has to die, the more tragedies will befall the Earth, including tsunamis, earthquakes, plagues and unspeakable tragedies.
What is real ? Which truth will save the world ?
Their deadly seriousness and conviction gives credibility to the four strangers' claims, and most importantly, makes the family doubt their own beliefs on what is real.
Are the four weapon-wielding psychos claiming the world is going to end right ?
Certainly a different take on a doomsday film and one to make you think about impossible choices. Enjoyable from start to end !
SPOILER ALERT NEW website review by Cassandra Joy
Spoiler Alert Reviewer : Cassandra Van Zeyl
Spoiler Alert is one of those rare films that captures the raw, unsettling footage of terminal illness and the avalanche of emotions that follows.
Isn’t love meant to conquer all ? What happened to happily ever after ?
This love story will have you in tears, gripping your fists, wishing you didn’t know the ending when unfortunately given its title ; the audience knew what would inevitably unfold.
Spoiler Alert is an American romantic drama film starring Jim Parsons and Ben Aldridge as two lovers in a same sex relationship exploring the highs and lows of life. What’s hard to swallow is that it's a true story directed by Michael Showalter.
Parsons plays Ausiello, and Aldrige plays his lover Kit Cowan who ultimately struggles through the pain of terminal cancer whilst battling with his own demons and regrets. The hardship is felt when watching him repair the damage to a once perfect relationship.
Beautiful and achingly honest ! This relatable love story reminds us of the importance of communication, honesty and acceptance! This film sheds light on how incredibly important memories, moments and spending time with loved ones is!
MET OPERA: THE HOURSNEW website review by Cassandra Joy
Spellbinding, emotional and enlightening! Opera can be so incredibly powerful and present emotions in a truly unique way. ‘The Hours’ has a truly remarkable and renowned storyline but this version, through opera, is groundbreaking and successful as a stand alone performance. The overlapping of storytelling is remarkable and perhaps only successful because it’s integrated through opera resulting in an understanding of all voices harmoniously singing together. This version of ‘The Hours’ is honestly written for those individuals who haven’t seen the book or movie which is an achievement in itself!
‘The Hours’ is a 2022 sensational opera in two acts with captivating music by Kevin Puts and an English-language libretto by Greg Pierce. This opera is famously based on Michael Cunningham's 1998 novel and its 2002 film adaptation, both with the same title.
‘The Hours’ is a powerful story involving three women from different eras who each grapple with their inner demons and their roles in society. You as an audience are left curious and questioning if it is better to live your life for your own happiness or others. Powerful themes, emotional scenes and phenomenal vocals! ‘The Hours’ had a three-part structure. The three distinct worlds and eras sit side by side before eventually combining in a perfect combination of emotion. I agree wholeheartedly with Paul Cremo that “The great thing that opera can do is simultaneity,”. This opera was able to have three people in three different decades singing onstage at the same time. ‘The Hours’ performance has persevered and risen above various musical and dramatic challenges.
What a revolution of opera !
YOU CAN GO NOW NEW website review by David Black
You Can Go Now is the documentary that had to be made!
Grace and I were lucky enough to be invited to the media screening of the new documentary, “You Can Go Now” at Cinema Nova on Tues 17th January. The film promoted as being about first nations artist, Richard Bell and his career, but it is so much more.
Richard is described as being an attention seeker, activist and artist … in that order. The movie takes us across Richard’s life from an impoverished living as a child to walking the world stage as a creative and Aboriginal activist.
This on its own would have been more than enough justification to make the film. The reason I said that this is the documentary that had to be made is because it also covers the native struggle and includes many events such as the Canberra tent embassy and Black Panther inspired programs to feed and educate the young.
Many Australians are not well versed in Aussie history, outside of stories of Captain Cook and Bushrangers. When it comes to documentaries about Black struggle, many of us have seen American offerings that cover their civil war through to the Watts riots right up until today. Even for those that haven’t looked at educational sources would have seen quite a bit in American tv shows and movies. The fight for rights here though is just not well known.
Rather than give a detailed, blow by blow description of Richard’s career, or the various milestones covered, I would simply suggest that you see this movie. Words are not going to give you the emotive experience that you get when you see footage the oppression and injustice. I I can talk about seeing Richard's childhood shack bulldozed but you do need to see the footage.
To better understand, you need to see the highs and lows, and to hear it in the words of those who were there. Don’t worry about the movie being a downer though because there is so much humour in it that it is well balanced. “You Can Go Now” is being launched on Australia Day, or if you like … Invasion Day!
A cultivating, raw and emotionally engaging perspective on the life of an obese human being. There were multiple jaw clenching scenes, creating a mixture of sadness, uncomfortableness and tears. The audience are shown an authentic reality of severe obesity, abandonment and complications involving same sex relationships. Watching this movie gave me physical chills! Brendan Fraser's comeback was absolutely phenomenal with him delivering a captivating performance as Charlie, the reclusive English teacher who is tortured by his failings as a father and left facing the physical dilemma he caused himself. Charlie seeks redemption whilst accepting death is knocking on the door. His love and devotion as a father are questioned harshly by his daughter. Navigating the severity of obesity opens up old wounds, hurting his self worth, confidence and sending him down a spiral of negativity and insecurity. His only salvation is to be truly understood and to walk towards the light of truth. This is world class acting and a movie that I will truly never forget! Not often does a movie reach a variety of emotions all in one sitting.
M3GAN is a 2022 American science fiction horror film directed by Gerard Johnstone, written by Akela Cooper. This film had a very rare and unique combination of comedy, horror and clever artificial intelligence sequences. Starring Allison Williams and Violet McGraw, with Amie Donald physically portraying M3GAN and Jenna Davis voicing the character. Jenna Davis brings an especially warm and joyous vocalization to M3GAN, making her sound both lighthearted and somehow sinister. Megans character is brought to life by the incredible combination of puppetry, animatronics, and visual effects. Cooper and James Wan create a plot that follows an eponymous artificially intelligent doll who develops self-awareness and becomes hostile to anyone who comes between her and her human companion. Megan is designed by Gemma, a passionate roboticist. M3GAN is created with various roles including role of friend, teacher, playmate and protector. Megan can listen, watch and learn but at a faster rate than expected. When Gemma becomes the unexpected caretaker of her 8-year-old niece due to a tragic accident involving her sister, she decides to give the girl a M3GAN prototype. This decision at first seems like the resolution to loneliness but ultimately leads to unimaginable consequences.
I bеliеvе it is all about that "imperfect past tеnsе"...
With girlish diligence and the diligence of a debutant, Frances O'Connor recreated the world of vanishing Georgian England. With what incredible care, "wavy strand to curl", she turned the faces of modern actors into faces vaguely familiar from the canvases of Hogarth and Zoffany. She made up the landscapes of Turner and Constable with thе paints, as if diluted with milk. If green, then it is the color of an unripe olive; if white, then it is baked milk; if scarlet, then it is faded raspberry; if blue, then it is powdered plum dust; and if gray, then it is light mouse.... Everything is modest, hublе and faded - this is the good taste of England at the beginning of the 19th century.
With such care, the director does not hide: her picture is not a biopic at all. The biography of Emily Bronte is extremely lapidary. Little is known about her. Most of the facts of her life are just versions. The director does not pay attention to those that are installed more or less accurately. She does not shoot a biography of a writer, the author of one novel and several poems, who died in her youth. She made a picture of how the Future is knocking on the door of the Present. That's what all those details of life, faces and light are needed for. After all, this is the end of the Georgian era. It is already on the threshold of the Victorian, which will bring with it the industrial, social and cultural revolutions. How does it happen? Who are the conductors through whom change powerfully declares itself? Why a little-known country priest family from some seedy English hole gave the world two writers who defined fashion in the most important city in the world at that time - in London. And in addition to them - a failed artist, a rebel without a reason?
These questions will not be answered. Nobody knows him at all. "Emily" is just a reminder that all theories, futurological forecasts and prophecies of clairvoyants are tinsel in front of that indistinct, incomprehensible, tormenting call that makes you create contrary to the rules, contrary to everyday interests. A film about what is strange does not mean dangerous. That opium or rum, "expanding consciousness," lead to the abyss. That intuition, fantasy, loyalty to the inner sense of style and duty - this is the voice of the Cosmos, which will determine fashion and rules.
How the father of three girls and one boy, a village priest, got stuck in routine and habit, how the inhabitants of the Yorkshire hinterland spend their unique and inimitable lives like a blueprint in the usual wheel of everyday life of not the richest area, how the new vicar appointed to this wilderness is ready to pull the strap of the way of life William Westman is one side of the picture. On the other, the asocial (as they would say now) actions of the girl Emily. Fantasies, dreams, the first samples of alcohol, participation in pranks and tricks of the brother (the word "performance" was not yet known) - the second medal. There is no reason for such behavior that provokes a good tonе. Yes, and in the nature of Emily there is no passion for revolutionism, unlike her brother but you cannot hide the seal of chosenness, of guidance. With the most exemplary behavior, the girl receives the reputation of "Strange". Happiness and torment to live on this edge, hearing the voice of the future, surrounded by the past - that's about this movie.
Emily will largely destroy her ideas about female sexuality, sensuality, and freedom of relationships with her novel Wuthering Heights. How? Are the researchers surprised? How did she know about it? After all, she never got married. No one has heard of her novels. Abracadabra rulеs hеrе. Novels were, but secret. She is asexual. She is a secret lesbian. She had an incestuous affair with her brother. The director did not join this disgraceful club of lovers to discuss events in other people's beds. Her version is Emily's affair with a young vicar. With the same set of joys of meetings and torments from the realization of sinfulness. With the intention to break up and the impossibility of doing so. With undelivered letters. With sudden departures. with fatal deaths. It's funny: the line of a secret, enticing desire to change the world, to hurry up Tomorrow, is drawn by OConnor with a subtle tempo, when each episode, starting in a classic, measured way, gradually picks up pace to explode with a window thrown open by a thunderstorm, a pouring downpour, the appearance in a dream of the one you are waiting for but you are afraid. But the love story is drawn exactly according to the canons of a girl's diary. With fear, hopes, suspicions, dreams. The romantic line in the picture turned out to be too earthy, understandable, girlishly capricious.
This is how the film turned out. With fine ornamentation, the secret course of a great story, and a line of earthly love. Sometimes refined, sometimes overly sensual, sometimes wise, sometimes extremely naive. A girlish film about the world of a writer who put a rather noticeable block into the foundation of this world. Stylistically, everything matched.
review by Cassandra Van Zeyl A quite unique representation of the sacrifice that comes with perfection. True passion and dedication to the art of a composer is accurately depicted through Cate Blanchetts performance. From writer-producer-director Todd Field comes TÁR, starring Cate Blanchett as Lydia Tár, the ground breaking conductor of a major German Orchestra. We as an audience explore the complexities of same sex relationships and the emotional battles fought on the way to stardom. At the height of Lydia Tar’s career, paranoia, sleep insomnia and madness unfold whilst navigating her career and personal life. Her much-anticipated live performance of Mahler's Fifth Symphony will have you in suspense. The result is a burning examination of power, and its impact and resilience in today's society. I truly believe this was a phenomenal performance by Cate Blanchett where the confusions of reality are cleverly showcased. Lust for power and perfection come head to head in this masterpiece. What price do we pay for perfection?