For a movie that recalls suspense thrillers of yesteryear, it’s fitting that Drop begins with an eye-catching opening title credit sequence. In it, a series of items slowly rotate against a black background, with the breakable ones shattering. This sequence, a pun on the movie’s title, also hints at what’s in store for us. (There’s a reason for the inclusion of a spinning chess piece and dice.) It’s a nice touch, but unfortunately what follows never tops it.
Continue reading “Drop”
In The Woman in the Window, Amy Adams plays Anna, an agorophobic-asexual-alcoholic child psychologist who’s life turns into a weak copy of Rear Window. The movie mainly exists as a device to persecute and torture Amy Adams’s character. If you enjoyed seeing Adams essentially repeat her character from Sharp Objects, you may enjoy this movie. As it stands, the movie doesn’t let her take any pleasure from her voyeurism, and instead repeatedly punishes Anna for her transgressions, past and present. She’s Joan of Arc with a telephoto lens. Not recommended.
Continue reading “The Woman in the Window”
Detroit Cineaste 