Déjà Vu

Now celebrating its 50th anniversary, back in 1976, Brian De Palma and Paul Schrader, before becoming household names (that would happen later the very same year with De Palma’s Carrie and Schrader’s script for Taxi Driver), attended a screening of an original print of Alfred Hitchcock’s Vertigo (1958), and were immediately inspired to co-write a story (with the latter polishing off the screenplay) for a movie that would eventually be titled Obsession – not at all related to this year’s box office craze with the same title, or the review posted here last week called Obsession: A Taste for Fear (1987). Like much of De Palma’s work, this too finds its brainchild from Hitchcock’s oeuvre, as mentioned before, most notably Vertigo.

Made for a very, very reasonable budget of only three million dollars, co-writer and director Scott Mann’s Fall (2022) became not only a minor box office success, grossing just over eighteen million dollars, but is also a film that is not for anyone who might be suffering from acrophobia – also known as a fear of heights. Following twenty-something Becky Connor (Grace Caroline Currey), she was an avid rock climber until the day her husband Dan (Mason Gooding) fell to his death while on one of their climbing trips with fellow enthusiast Shiloh Hunter (Virginia Gardner).

You know, it is pretty rare to have a critically acclaimed comedy movie coming out of Canada – other than Bon Cop, Bad Cop (as well as its sequel), Starbuck, and perhaps a few others (and that might be a stretch)... somehow, despite all the funny people to come out of the country north of the United States, it just doesn’t happen – perhaps because so much of the talent relocates to either New York or Los Angeles. Well, another rare funny film has to be added to the short list: co-star, co-writer, and director Matt Johnson’s Nirvanna the Band the Show the Movie (2025). Not at all related to the 90s grunge band Nirvana, the concept is actually based upon a web series that ran between 2007-2009, its tv adaptation which spawned in 2017-2018, only for it now to evolve into its current film form.

Sometimes, certain films just seem destined to underperform at the box office, only to fall into more of a cult status down the road... and this could likely be the case for writer/director Damien Chazelle’s epic depiction of late 1920s, early 1930s Hollywood in Babylon (2022). Clocking in at three hours, nine minutes, if Chazelle’s 2016 musical La La Land was a love letter to current Hollywood, then this could easily be considered something similar to the growth and birth of the place. In some ways reminiscent of Quentin Tarantino’s 2019 feature Once Upon a Time... in Hollywood (which also gives the viewer a bird’s-eye view into the movie making business), the aptly named Babylon is perhaps not for the faint of heart, but will be rewarding for anyone intrigued by the silent and the 30s Pre-Code era (or for people who are simply looking to learn more about this cinematic time).

In your prototypical revenge movie, something heinous happens, after which the protagonist spends the rest of the narrative trying to exact vengeance upon the person/people who committed the act... but in this curve-ball of a thriller, Blue Ruin (2013), written and directed by Jeremy Saulnier (Green Room), that is not the case. Following the struggling Dwight (Macon Blair – Green Room), ever since his parents were murdered, he has been living a form of homelessness out of his beat up, rusting 90s Pontiac Bonneville. Almost as silent as a monk, the first conversation he has had in some time is when he is notified that the man put behind bars for killing his parents ages ago is getting released.

Ah, Death, sometimes known as the Grim Reaper, has been depicted in so very many unique ways, with the most traditional being of the lineage of Victor Sjöström – who made the silent horror film The Phantom Carriage (1921)... which then inspired his protégée Ingmar Bergman (who watched the feature every year – usually on New Year’s Eve) with making his classic Black Death plague set film The Seventh Seal (1957). Having a laugh at that always winning Reaper, the 2011 horror comedy short The Coldest Caller, written and directed by Joe Tucker, is a four minute humour-filled foray into one such harrowing scenario. Exhuming some fun in a Monty Python-like sketch (specifically Monty Python’s Meaning of Life), when the ominous list-carrying Grim Reaper (Noel Byrne) – your typically towering, hidden gaunt figure dressed in all black, arrives on the cozey doorstep of one Mrs. Evans (Sheila Reid), the punctual old lady almost seems like she has already been waiting for him all day.