Dir - Perry Blackshear
Overall: GOOD
The latest from writer/director Perry Blackshear When I Consume You is his third straight independent horror film in a row, baring a psychological resemblance to his other works as well as once more sharing several of the same actors. Stylistically, Blackshear sticks to handheld camerawork and sparse DIY production aspects, yet there is a claustrophobic intimacy here with blurry editing, extreme closeups, and a distorted sound design that puts the viewer on a persistent edge where it is difficult to grasp what is actually happening most of the time. Its gritty occult depictions are positively freaky, yet their details are left largely ambiguous as is the traumatic backstory of the two central sibling characters, played excellently by Libby Ewing, (in her first time working with Blackshear), and regular Evan Dumouchel. The emphasis is certainly on the co-dependent yet harrowing relationship between Ewing and Dumouchel, where overcoming intense hardships even when such a thing is seemingly beyond one's means serves as the thematic backbone to the entire movie.
Dir - Scott Derrickson
Overall: MEH
The latest horror effort from director Scott Derrickson The Black Phone is an adaptation of Joe Hill's short story of the same name which went into production once Derrickson found himself let go from the MCU's Doctor Strange sequel. Sadly, there is very little to recommend with the results here. Early moments tease at a possibly interesting supernatural context yet as things go on, the story quickly looses one's interest and becomes a monotonous series of vaguely tense set pieces punctuated by awkward humor and half-baked plot points. Ethan Hawk turns in an adequate if unoriginal crazy guy performance yet there is absolutely nothing substantial to his character, a character that does not deliver the kind of bogey man menace to make him ambiguously frightening. Cliches exist elsewhere of a psychic kid, (who police detectives ridiculously confine in for clues), an abusive, alcoholic father, creepy masks, school bullies, and an ultimate arc being about overcoming personal weakness and finding inner strength or whatever. Hokey, derivative, and boring, it at least has some cool classic rock songs on the soundtrack.
Dir - Jane Schoenbrun
Overall: GREAT
A fascinating, ambiguous, mumblecore debut from non-binary filmmaker Jane Schoenbrun, We're All Going to the World's Fair is a deliberately challenging work that explores the deep psychological need for connection amongst the introverted. Told almost exclusively through Creepypasta-esque, faux-YouTube videos with occasional long, hand held camera single takes, Schoenbrun still manages to create something visually and surrealy captivating. This is enhanced by a low-key indie soundtrack from singer-songwriter Alex G as well as ambient soundscapes that give everything a hypnotic tone that is appropriate for a story that focuses on people spending untold amounts of hours zoning out to internet content. Certain elements temporarily break up the tranquil spell, crossing over extremely into the absurd which causes a combination of knee-jerk laughter and unsettling chills for the viewer. It is a movie that is so calmly assured yet deliberately challenging that anything can happen at any moment in the most unorthodox of manners; something that far more contemporary films in the horror genre can take a lesson or two from.
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