FIRST REFORMED shows how religious faith is affected - and destroyed - by the modern world. It also illustrates extremism exists in every facet of life.
50+ of Father Gore's favourite films directed by women, from the 1930s to current day.
Here are Father Gore's Top 205 Films of all time!
This is a spectacularly creepy Norwegian horror worth letting under your skin.
The spectre of communism looms over Latvia's first piece of horror cinema; a morbidly exciting work.
Raising Cain. 1992. Directed & Written by Brian De Palma.
Starring John Lithgow, Lolita Davidovich, Steven Bauer, Frances Sternhagen, Gregg Henry, Tom Bower, Mel Harris, Teri Austin, & Gabrielle Carteris. Pacific Western.
Rated R. 91 minutes.
Brian De Palma is one of those classic directors of his generation, leaving his mark indelibly on the psychothriller, often imitating his greatest influence Alfred Hitchcock, though never in a way that rips off the master. Instead he is keen on homage, and uses the influence as an element incorporated into his overall style as a director and writer. He’s honestly not one of my personal top favourites. He is undeniably great, all the same. I do love Carrie, Sisters, Carlito’s Way, Mission: Impossible, but don’t care for some of his more lauded works such as the cult phenomenon Scarface and The Untouchables, other than bits and pieces; they’re good movies, just not fantastic as others claim. I prefer the stuff like Dressed to Kill and Blow Out.
Raising Cain is a nice heady mix of psychological horror, mystery, and all folded into a thriller structure. While this is another film that doesn’t go on my top De Palma, it is fun. Almost in a seedy way. He’s tread through the sleazy, sexy-styled thriller before and isn’t a stranger to that territory. Here, it doesn’t feel as Hitchcockian. Instead the plot comes off more trashy than anything and not in a way that’s beneficial, in say the sense of a grindhouse picture or something purposefully attempting to feel like that. De Palma tries to make another solid thriller that twists and turns, but instead of doing much twisting or turning he opts for a load of nasty business, some steamy bits. Ultimately, the screenplay gets lost in its own convoluted attempts at becoming greater. I wanted to love this and only came out lukewarm even about its best bits.
There’s no doubt John Lithgow is a wildly underrated character actor. Although he knocked the role out of the park, 3rd Rock from the Sun never did him any good, or justice. He’s been in plenty of movies since, but I can’t help feel that series put a damper on his career at a later stage, whereas someone like Joseph Gordon-Levitt was young enough to shake it off. And that’s sad. Lithgow is at his best here, taking on a Peter Sellers-like task of multiple roles. Except these are twisted, each more sinister and unsettling than the last. All juxtaposed with the main character, Carter Nix, whose nice and friendly qualities are what you’d imagine Lithgow is probably like in real life. He does well portraying the Multiple Personality Disorder at the heart of the main character. There’s a genuine disconnect between the different perspectives, the different looks and their ways of speaking, and so instead of feeling like he’s just hopping from costume to costume, Lithgow legitimately gives us separate, distinct personalities. Right down to the voices and their idiosyncrasies. All the marks of a classic performance.
This brings me to a point I don’t exactly enjoy about the screenplay. The whole Multiple Personality Disorder angle is fine, no problem. What boggles my mind is why there’s so much going on. There’s already a large split in the main personality of Carter, so what I’m not sure of is why De Palma insisted on involving such an intricate plot of Jenny Nix (Lolita Davidovich) cheating? Why does that have to be shuffled in there? Only clogs things up. It’s enough to have his wife suspicious of him and his complete obsession with the mental development of their daughter. A little too much to throw in a whole angle with infidelity, especially considering the movie’s only 91 minutes. Not that it’s badly written. Poorly, yes, but not bad. There’s simply too much going on for De Palma to properly juggle.
Partly it’s the end that makes me feel as if, in this film, De Palma goes too hard into his Hitchcock influence. With the whole female personality of Carter, a.k.a Margo, there’s almost too much Norman Bates lurking; in turn, we could say he’s riffing on Robert Bloch, as well. The timing of having this part of the personality come out feels too much like the climactic chills of Psycho for it to be any bit genius in its own right.
There are some real excellent scenes. Such as the simple yet effectively fun tracking shot following Lieutenant Terri (Gregg Henry), Sergeant Cally (Tom Bower) and Dr. Waldheim (Frances Sternhagen) – not only is it beautiful, the Waldheim character is strong, as well as funny in the way she walks on talking, not paying attention where they’re going, only to be lead around forcefully by the lawmen while they trail behind listening. That’s just unbelievably good writing, and without being a major part of the plot or anything of the sort it adds a big boost to the movie. These are the portions in which De Palma’s talent shines. He doesn’t just write weaving plots, he’s capable of doing good things both big and small.
Raising Cain has all the potential to be endlessly interesting. There’s no shortage of thrill, even a chill or two from time to time. John Lithgow is perfect in his multiple roles, bringing to light Multiple Personality Disorder in fine psychological horror fashion. This is a wild, sleaze-filled ride straight off the top until the last frame. Brian De Palma can and has done better as writer-director. His abilities as a next generation Hitchcock are usually on display. This movie tries to aim for that sort of feel, but falls short. I wanted so badly for this to break free of its chains. Unfortunately, De Palma tries doing too much at once. Instead of sticking to something more basic while serving better the thriller aspects of the Multiple Personality Disorder, he goes wide and throws in a kind of Hitchcock-type plot to make things move quickly. I can’t help thinking this would have been better served as a slower burning plot, one without the infidelity of the wife and focused solely on Carter. It doesn’t need so many bells and whistles. It was good enough on its own. Luckily for all Lithgow makes this enjoyable, keeping each eye glued until the underwhelming finale that’s both too similar to a classic of the horror genre and also slightly too predictable for its own good.
Joshua. 2007. Directed by George Ratliff. Screenplay by David Gilbert & Ratliff.
Starring Sam Rockwell, Vera Farmiga, Celia Weston, Dallas Roberts, Michael McKean, Jacob Kogan, Nancy Giles, Linda Larkin, Alex Draper, Stephanie Roth Haberle, Ezra Barnes, Jodie Markell, Rufus Collins, Haviland Morris, & Tom Bloom. ATO Pictures.
Rated 14A. 106 minutes.
The creepy kid sub-genre (if that’s legitimately a thing) in horror is one that’s seen plenty of ripe material. Some of the classics dominate, such as The Omen and the lesser loved but awesome The Good Son featuring young Macaulay Culkin and Elijah Wood. Then there are others which aren’t as great, though still enjoyable, like Children of the Corn. What makes us so worried in general about the killer kids, the little psychopaths, young boys and girls capable of murder, manipulation, and so much more, is the idea of nature v. nurture. With any representation of evil, adult and child alike, it’s a question of whether innocence is real. If it is inherent in human beings automatically and evil becomes engrained in people throughout the course of their lives. Or if there’s no such thing as innocence, and at birth humans are part of a cosmic Russian Roulette, in which children can come out on the opposite shade of that spectrum.
Joshua examines such questions of innocence. Even after the credits start to roll and we’ve watched with dread those final moments, there are no blatant answers. It may seem like everything’s obvious. Although that’s certainly not the case if you look closely. Added to the finale and its ending there are several key moments which call into question what exactly has happened. People can say they’ve got a definitive answer, and they may offer quite a deal of evidence to that point, yet there will always be a hovering air of mystery. Considering these events, when you look back on the film as a whole you start to try piecing together various theories, moving back and forth between possibilities. Ultimately, this is a strength, as Joshua is highly likely to stick in your mind, days after seeing it, possibly longer. And after so much madness you’ll start to question whether evil really is nurtured all the time after all.
Maybe innocence is far too fleeting.
I love the natural feeling of the relationship between Brad and Abby (Sam Rockwell & Vera Farmiga). One of the biggest things about any drama, no matter what sort of genre boundaries it crosses, is that the character need to feel real. I don’t care what sort of story you’re telling, if the characters in your screenplay don’t connect with people emotionally on some level then there’s really no hope for anything else you’re attempting to do. While this movie is absolutely a (psychological)horror-thriller its main structure is an intense family drama. The foundation of which is always going to be real, honest characters. One example is early on when Brad joins Abby in bed – he’s trying to start sex, without being obnoxious, and his wife isn’t really ready yet, but he’s kissing her ass (literally), telling her how gorgeous she is, to the point of saying he loves how her armpits smell.
When the horror-thriller elements star to kick in hard there are obvious comparisons, and maybe homages, to similar films now considered classics. For instance, just Abby’s hair alone and later her pale complexion will have most people thinking of Rosemary’s Baby. As Joshua (Jacob Kogan) further manipulates his parents he becomes reminiscent of an even more actively involved Damien Thorn.
One of the eeriest scenes comes when the dog dies. The way Joshua mimics his father begins to show us how the boy might possibly be a psychopath. We know already there’s something not quite right, but this is a spooky moment. Even Brad starts to get a peek into the personality of his son, and though he soon forgets mostly about it this is a big turning point. As an audience, we’re gradually privy to more of his creepy behaviour that leads us farther and deeper into the boy’s psychopathy.
Rockwell is a fantastic actor. He does well with a variety of characters, and this is no different. The character of Brad is complex. He’s a very loving, understanding husband, and all at once a man with needs, both emotional and physical. Later on, he becomes a sort of vilified father near the end. So as an actor Rockwell has tons with which he can work. He’s easy to relate with watching him deteriorate, and this is probably why it’s all so effective. We feel for him all the way. Alongside him is Farmiga, another awesome talent. She is always watchable, even in movies where there’s nothing too exciting going on. Here, she’s saddled with playing a role similar to the ones played by Mia Farrow and Lee Remick, only this is a much more realistic portrayal of a woman driven to madness by pregnancy and/or motherhood. It isn’t easy to portray an honest character like this, but Farmiga gives us the good and bad of a new mother, one that’s already experienced the exact same thing not even a decade before. Having seen several women go through that new life as a mother, including the rocky beginnings, I find Farmiga’s performance to be extremely on point. And when Joshua further drives his mother into psychological ruin there are some good scenes between Farmiga and Rockwell, where they give us a devastating look at a corroding marriage.
The best scene of all is the last one in the park, after Brad finally snaps. Everything about it is incredibly well executed. Love the score that accompanies the moment, very ominous and psycho-thriller-esque. But just the way Rockwell goes mental, fighting the men around him, it’s so intensely emotional. The camera draws back, panning out and giving us this almost auditorium-like view of the confrontation. Overall, a wonderful sequence.
This is a 4-star film that I’d put up at the top of the pantheon of creepy kid sub-genre. Of course Joshua doesn’t come along with any of the outright bloody horror many of its counterparts boast. Nonetheless, it is horrific. A psychological thriller with enough viciousness to hold the attention of most. There are good performances, however, the writing is what does most of the work. Not every creepy kid flick has much innovative about its story. What Joshua doesn’t attain in its few missteps it gains back in an overall willingness to step outside the usual expectancies of the sub-genre and it makes up by subverting those ideas, giving us something altogether creepy and slightly original. The film avoids cliche at many turns simply due to the fact it opts for a plot that doesn’t dive into the supernatural. Everything is much too real and impressively believable.
Dig in, you’ll find a treat especially if creepy kids get to you. This is one boy I won’t soon forget.