Suspiria: Whoever handled Suspiria's marketing campaign is a master of deception. What was sold as an unsettling supernatural horror flick about a witch coven operating of an esteemed Berlin ballet academy is actually a beautifully-shot slab of convoluted symbolism porn that seems bound to fuel many colorful conversations about abuse of power, sisterhood, etc. at hip establishments that serve overpriced lattes around the globe over the next several months. Not even a pair of committed performances from the reliably great Tilda Swinton or the rare instances where the over-the-top gore that made industry people lose their shit at this year's Cinemacon made an appearance can provide much relief from the general tedium and increasingly ridiculous plot developments this 150+ minute art installation abundantly offers up.
Grade: D+
Bohemian Rhapsody: Queen has finally gotten their state-sponsored biopic and despite being frustratingly conventional for the bulk of its running time, Bohemian Rhapsody ultimately succeeds as a well-intentioned propaganda piece that celebrates their music and the immortal legacy Freddie Mercury left behind. It does a pretty solid job of portraying the eccentricity and dynamism that has made them such an interesting band, the recreation of their 1985 Live Aid set is a stunning technical accomplishment that authentically captures the sprawling environment of a stadium concert from just about every possible vantage point you can conceive and Rami Malek's turn as Mercury is magnetic enough to overcome the general lack of insight the script provides about the late singer's true character.
Grade: B-
The Girl in the Spider's Web: While The Girl in the Spider's Web bears a closer resemblance to an espionage action thriller than the slow-burning mysteries of both the original Swedish trilogy and David Fincher's 2011 remake of The Girl with the Dragon Tattoo, Fede Alvarez (Don't Breathe, Evil Dead) has still done the beloved punk computer hacker Lisbeth Salander justice. Claire Foy does a pretty good job of capturing Salander's strong, hard-nosed spirit, Alvarez keeps things moving at a nice pace without indulging in a half-dozen convoluted subplots and the climactic showdown between Lisbeth and her estranged sister (Sylvia Hoeks) is a truly badass spectacle. The switch in narrative/directorial style and lack of detailed characterization will undoubtedly alienate some longtime fans of the series, but anyone that's cool with straightforward espionage thrillers that favor slickness over substance should have a good time with this.
Grade: B
Overlord: Unconventional genre mashups don't get much better than Overlord. This film flawlessly combines the real-life horrors of warfare with the fantastical nightmare of mankind being overrun by a supernatural entity (in this case, a nearly-invincible group of zombie-like creatures that were created by the Nazis during World War II) to create something that's distinct, engrossing and downright harrowing throughout. Director Julius Avery wastes no time establishing a hellish atmosphere and having that constant threat of danger added an aura of dread that helped make this a nerve-frying, edge-of-your-seat thrill ride for the ages. If you're interested in seeing this, I can't recommend seeing it at a theater with a top flight sound system enough.
Grade: A
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