What is it with horror movies in 2024? It feels like a golden age of clever, intellectual, and suspenseful horrors that trade on our understanding of the genre without ever feeling like they are relying on cheap thrills.
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The hook for this quirky horror is definitely Nicolas Cage and the almost comical character he plays. It’s something that is variously hidden and revealed in promotion for the film and it was one of the things that made me go to see it at a cinema.
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I only got to see three films at this year‘s Melbourne Irish Film Festival but they were all really solid. I really appreciate festival director Enda Murray‘s choice of films (and his endearingly bumbling introductions and Q&As).
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Do I have any right to be disappointed that the story of Lee Miller is book ended by her role and failures as a mother?
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This is a lovely story about friendships that can form across class divides and provide safety and salvation for women experiencing coercive control.
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This deeply affecting Irish documentary delves into the history of the institutionalisation of pregnant women from the 1920s to the 90s by various Irish institutions including the Mother and Baby Homes and Magdalene Laundries.
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Goran Stolevski drops us into a maelstrom of a household and holds us there through grief and hardship and transcendent moments of love.
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The ‘zone of interest’ was the Nazi party term for the 40 square kilometre area around Auschwitz and also the name of Martin Amis’s novel, a very different version of a glimpse into the life and home of Rudolf Höss.
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Refreshingly unpredictable and the kind of film that would usually have been about blokes, not daughters and body building lovers.
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It’s feeling like a bit of a golden age for horror films where they are more than just a vehicle for shock.
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