Mike Goes To Movies

Hellraiser (1987) This one's a special review for the great @movieloversmovieclub that has been showcasing horror films for each day of October. My pick for the group is Clive Barker's 1987 classic, Hellraiser. No, the film is not altogether that superb, however, there is a specific reason why I chose it for today. It is because, for anyone who had a childhood post-1987, the image of Hellraiser's Pinhead is one that, anytime glimpsed, surely terrified the absolute bejeezus out of you. Most of us weren't able to actually watch the film until we were much older (unless your parents were rather negligent) and so all we had for those young years growing up was Pinhead himself - that ghastly white face, like a spectre in the night, with gruesomely long and masochistic nails sticking out from every angle of his head. Literally, the stuff that nightmares are made from. Now, for the film itself. In my opinion, Hellraiser, the film, is better thought of as a scary campfire

Jojo Rabbit (2019) There are three movies in particular that I was dying to see at this year's TIFF  but that I had to unfortunately miss out on. However, It looks like this weekend I am going to have the pleasure of knocking all three off of my list (partially because I am heading out of town for work this week for the month and will become more limited with my time to go to the theatre and write reviews). The first of these films is Jojo Rabbit - the quirkily black-comedy from acclaimed writer/director (and newfound icon of New Zealand), Taika Waititi. Waititi is absolutely one of my favourite new-age directors; he has that rare talent of being able to infuse his films with his now-distinct irreverent and absurd sense of humour with true heart. And, in that, Jojo Rabbit is not only no different, but he seems to have perfected that hard-to-obtain formula of high class comedy and drama. For those that have seen the trailer/read up on it, you know the offbeat setup for the f

The Autopsy of Jane Doe (2016) I decided to get a bit more into the October/Halloween spirit lately and, the other day, ended up watching a recent horror film that I really knew nothing about, but that had been recommended by a friend whose taste in film I give a lot of credit to. Directed by Norwegian filmmaker, Andre Ovredal, The Autopsy of Jane Doe is one of those excellent, very self-contained and insular horror films. As the title hints, the film follows a simple plot, which is two coroners conducting an autopsy of an unidentified deceased. The film ended up surprising me (in the best way) in its confident direction, tight script, and genuine terror that continues to build through to its chilling ending. If you are like me and hadn't heard much of the film beforehand, I definitely recommend you go out and watch this one. Some of the best horror films of the past revolve around the single location concept. The Shining, Evil Dead, Misery, Panic Room and Green Room all util

Joker: Discussing Its Laughable Reception Alright! So, Joker is finally out and I assume most everyone who is going to go out and see the film has by now done so. Like our titular character, this post is going to be a little all over the place with random thoughts, anecdotes and discussion that have popped into my head since seeing the film about one month ago. Obviously, SPOILERS AHEAD. One thing that I think everyone can agree upon (even most of the assholes that have condemned the film) is Joaquin's astounding performance. Though there are many elements of his manifestation that can be detailed and applauded, there is one in particular that, quite literally, stuck in my head for many days after seeing the film. That is - the laugh. Joker's laugh is one of his most important attributes and each actor who has portrayed Joker has put a unique spin on it. (Hamill and Ledger's are two of my personal favourites.) However, Joaquin (along with Philips and Silver) put a who

El Camino (2019) Note: Spoilers for El Camino and Breaking Bad ahead El Camino is a slightly difficult film to review. Like an old pair of slippers there is an inherent sentimentality and comfort to entering back into this beloved world created by Vince Gilligan. Breaking Bad is undoubtedly one of the best tv series of this past generation and so there is little doubt that all of its many fans relish an opportunity to get back to its story and characters. And with the show's creator, Gilligan, back at the helm for El Camino there is slim chance that any of the fans will pass up seeing how Jesse Pinkman (Aaron Paul's) story 'truly' ends. Now, BB itself had a satisfying ending even with Jesse's somewhat open-ended frantic driving away into the sunset in the El Camino. And so one of my biggest gripes about Camino is that it is a somewhat unnecessary addendum to the BB story. The film is very much epilogue-esque and though it does give finality and closure to Je

TIFF: Honey Boy (2019) Yes, yes, I know TIFF has long come and gone but I still have one more review to espouse upon the masses. Honey Boy, written by and starring Shia LaBeouf, is his very personal story of his life growing up in the limelight with his father, James Lort. The film is powerfully moving, at times disturbing and also enlightening into the early life of this troubled actor and his later life attempting to coming to terms with and moving forward into a less-destructive way of life. It is a true testament to the talent of LaBeouf, both in his acting and writing, as well as that of Noah Jupe and Lucas Hedges (who play versions of LaBeouf at different points in his life) as well as Alma Ha'rel who makes her feature directorial debut here. As most of us know, throughout the past number of years Shia LaBeouf has been at the forefront of many tabloid-esque stories, often showcasing eccentric and/or anti-social displays and run-ins with various individuals. Though none