Occasionally published journalist, Sam Fuller head, film reviews to come
I'm intrigued by the temporal relationship between this film and the MTV era. The glossiness of the film's portrayal of New York City: the crystalline rain and the digressions into the film's soundtrack that are dialogueless and music video-esque. Is it harkening back to stories like Less than Zero and Bright Lights Big City or still deploying these signifiers with a pretense of modernity?
This line of questioning is complicated by the film being released in 1992 (a liminal period…
This review may contain spoilers. I can handle the truth.
Genuinely appreciate of Derrickson's affinity for hauntological textures (brought into fruition by cinematographer Brett Jutkiewicz as well). As played out as that obsession may be if you have internet brain, it is the type of visual ethos that scarcely informs these mercinarily directed Blumhouse films.
However, the period details are so lazily conceived, in line with the annoying decision to adapt Joe King's source material by adding signifers of his daddy Stephen. And more dammingly, the supernatural component of the…
Has the antiseptic direction of a mobile game ad, bereft of tension and consequence to the extent that the film resembles flop-era Fast and Furious more than it does Jaws, careens artlessly from frantic action scene to frantic action scene, with a whiplash-inducing pivot halfway through the film from aspiring Paul Greengrass procedural to nonstop shark gags.
A good time at the movies, even has a successor to LL Cool J's song for Deep Blue Sea