‘Le Parangon’
Distrust it on Amazon Prime Video.
The last time a wacky comedy of New Zealand involving fantastic shenanigans made me laugh as much, it was The original “what we do in the shade”. Michael Duignan’s new movie May not reach this level, but it’s always very funny.
A former tennis pro who culminated in n ° 347 in the world, Dutch (Benedict Wall) is found with a box after a safe blow. In his search for the Toyota Corolla who mutilated him, he met the mysterious Lyra (Florence Noble), who seems to have been expelled from the “Dune”. She informs the Dutchman of the existence of multiple dimensions (including “the dimension of the lawyer”) and claims to have “psionic powers” which include telekinesis. “Could you use it to change the channels on a television?” He asks. “This is what a remote control does,” replied Lyra. About 50 minutes after the start of the film, Dutch locates the driver of the Corolla, that is to say that “the paragon” takes an even more due turn – because it is in fact serious – involving the consequences of the roads taken or not. If an accident injuring someone can have a beneficial effect on someone else, what is the net result? “The Paragon” is inventive and sneaky well written, but the real reason it works is because it has heart.
‘The silent planet’
Putting a film in a sorry and empty world could have inspired some directors to go big with the views. Instead, Jeffrey St. Jules’s functionality has a tight claustrophobic focus (although he tightens in a good location of Newfoundland). Theodore (Elias Koteas) has been alone for a long time, condemned to work alone on a criminal colony the size of a planet. During the day, he overtones the ore which is then sent to Earth; At night, he looks at sitcoms in his little habitat.
And then one day another condemned, Niyya (Briana Middleton), arrives – Theodore took out the instructor in his chest, so he is considered dead, or almost there. They engage in a tense cohabitation, which has the advantage of revealing viewers why they were exiled in the first place. Niyya says she was supervised for terrorism. As for Theodore … Well, it’s a bit delicate because he can’t really make the difference between the facts and stories he tells himself. Whether something wrong or fiction, “it doesn’t really matter here,” says Niyya. But this is the case, a lot, because she and Theodore could share a crucial connection. “The Silent Planet” apools like a slow, thoughtful and ultimately dangerous game of cats and mice – it is simply difficult to say who plays what role.
‘Hostile dimensions’
Distrust it Fandango at home Or The Roku canal.
Ash (Joma West) and Sam (Annabel Logan) are young filmmakers who try to bounce back from what seems to have been a bad experience in a film. So when they get their hands on found images that seem to capture the disappearance of a woman named Emily (Josie Rogers) after crossing an independent door, the potential of the smell of the pair. Especially after having succeeded in Lug, the said carrier at home.
Watching Ash and Sam make your way through the “hostile dimensions” of Graham Hughes is like watching Bill and Ted trying simultaneously to make a film and locate a missing person. They consult a physicist (Paddy Kondracki), which offers declarations as very technical as “it could simply be Creepypasta waste but …” The best part of the film is the multiple plans of existence which are revealed behind the various doors of Wolf, including an empty amusement center called “pandamonium”. After “Death of a Vlogger” (which presented a large part of the same distribution), Hughes begins to make a little name, if only in the microbudget dimension.
‘Elevation’
The phenomenon of powerful creatures defeated, or at least slowed down, by apparently harmless things – common bacteria in “The War of Worlds”, water in “Signs” – is not new in science fiction. The so-called harvesters who appear unexpectedly to kill everyone on Earth in George Nolfi’s film seem indestructible, but at least one thing prevents them from unleashing everywhere: for mysterious reasons, they do not venture above 8,000 feet. It works well for a mountainous state like Colorado, where small communities survive the strange killing machines out of reach. Unfortunately, Will (Anthony Mackie) must leave his camp and go to a lower altitude to recover oxygen filters for his sick young son. He is accompanied by Nina (Morena Baccarin), a scientist trying to return to her old laboratory to test his theories on their opponents. As a skier, I will certainly dig any scene in which people use a facelift to escape their pursuers, but “elevation” should please fans of B films in general – it has the kind of old -fashioned efficiency which is actually difficult to achieve. The film ends with a blatant opening for a suite, and I am ready for one.
‘With you in the future’
Carlos (Michel Brown) and Elena (Sandra Echeverría) are on the verge of an acrimonious divorce when Cupid (Mauricio Barrientos) intervenes and returns them in the 1990s, at the time of a fateful date during a concert in Maná. The older couple goes to town trying to prevent their younger self (played by Fernando Cattori and Mariana Cartas) from falling for each other, which saves them future distress. Has Carlos been better with the rich Cristina (Aminti Ireta)? Elena, who was in a group, could she have been big if she hadn’t married? But, of course, the couple also realizes that they had something good at the beginning, and suddenly change course: young Carlos and young Elena must come together!
The film by Roberto Girault, of Mexico, shares a major theme with the recent “My old ass”: Something is worth pursuing if, before sorrow settles down, it brings real happiness? “With you in the future” has fun with some of the consequences that the actions of the older couple have set in motion, including the fact that the change of events leads to changing you. And do you really want to do this?