![]() With a powerful cast of women led by Natalie Portman and an affecting, disorienting Geoff Barrow/Ben Salisbury score, Garland takes us on a psychedelic journey into body horror, transformation, depression and grief, with gorgeous visuals fleshing out Annihilation‘s tendencies towards Lovecraft and Ballard.įurious and frantic, Athena builds on director Romain Gavras’ previous work, most notably his music videos Stress for Justice and Bad Girls and Born Free for M.I.A. The former novelist tackles one hell of a tricky adaptation here in the form of the first installment in Jeff VanderMeer’s trippy Southern Reach trilogy, his writing bordering at times on the unfilmable. While Harron’s film has no shortage of controversial content, her take demonstrates an understanding of Ellis’s novel as comedic social critique, and is an enduringly watchable one.Īlex Garland made a big splash with feature debut Ex Machina after writing in the sci-fi genre with Sunshine and Dredd. The pairing of Harron and Bale is vital to the sublime result, as opposed to the satire-free thriller that Lionsgate tried to make at one point, intended to star Leonardo DiCaprio with Oliver Stone directing. Every transgressive glance or loaded word lands a powerful blow as we take in perhaps the most appropriate erotic tale of the post-COVID era, one where two people drawn to each other exist in an anguished orbit of not touching, their affections quarantined.Īn unholy trinity comes together to produce filmmaking magnificence-Bret Easton Ellis’s notorious novel, a Christian Bale performance for the ages, and director/co-screenwriter Mary Harron’s take on the source material. ![]() 19th-century New York high society is the setting for this gripping tale of a young lawyer (Daniel Day-Lewis) who falls in love with a woman (Michelle Pfeiffer) scandalously separated from her husband-despite being engaged to her cousin (Winona Ryder)-all a delight to watch. Martin Scorsese’s period romance is a wonderfully crafted gut punch of simmering longing.
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