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Reviews14
sharpobject2424's rating
My nephew goes to his movie club meetings after school sometimes and one day Mr Gonzalo from Apollo18 dropped in! When I picked up my nephew they were still working on a group project about space and signing their names like little actor-stars. He kept their signatures because he said to them "one day you'll all be real screenwriters" and he said so he's gonna keep them since theyll be so valuable. Cute!!! Very niceman not hard on the eyecandy either. I made him laugh one time when we were packing up cuz he said he was just going to buy everyone pizza but he forgot to and was gonna run out to maybe get some but then saw they have snack machines all throughout that school. Anyway I said there's pizza in the cafeteria but i dont know when pizza say is and then he laughed so hard that he cried and locked me out of the room.
Really good movie and Austin just wont stop making more signatures, CUTE.
Really good movie and Austin just wont stop making more signatures, CUTE.
MA is an engrossing and surprising horror entry that makes a rousingly memorable contribution to the genre. While many horror films (if not most) can be easily missed, MA makes a superb entry in our library of modern horror that seduces, infatuates, and ultimately bludgeons with savagery.
Octavia Spencer, without whom this movie would probably not be possible (CERTAINLY wouldn't be the same), does something so nuanced that it transcends the genre. More inexperienced movie-goers may be tempted to write her performance off as eccentric, but one could never fairly call it excessive. What we have here is a relatively hyper-realistic movie given its' genre, and Spencer brandishes an uncomfortably life-like performance to lay effortlessly into its' grooves.
While not following the artsy or abstract notions of many successful modern horrors, which are fulfilling in their own right, MA falls within the schematic of a kind of gut-churning realism that will feel too far removed from the patterns of metaphor and symbolism we see work so well in the current age of horror. The result is an uncomfortably "too close to home" feeling sitting in your gut as you watch everything unfold; This situation could easily exist, DOES exist. Most of us have known sad individuals like Sue Anne, who's leverage over the unsuspecting victims is so concrete that it feels like a force of nature nigh impossible to be avoided. Kids of this age are often starved for a place in which their rule-governed lives can be overcome for a night. When you combine this with the care-free ignorance of youth, you have a desire so strong it is comparable to sex-drive: irresistible to a fault. Pair this motivation with the emotional/psychological tapestry that makes up that of Sue Annes, and what you have is a perfect storm. Chillingly believable.
This movie won't insult your intelligence nor will it stand on any kind of pedestal. It simply hits its target with extraordinary precision and doesn't flinch once. The director is striking a perfect note, resulting in a work nothing less than PERFECTLY cohesive. He isn't delivering a Friday night schlock-fest, as the marketing for MA led many to believe. What he made is a horror story that can be sad, lifelike, sympathetic, and truly ghastly all at once. And this compared with the tonal assumptions many will walk into MA with will separate the true horror-lovers from the rest.
Octavia Spencer, without whom this movie would probably not be possible (CERTAINLY wouldn't be the same), does something so nuanced that it transcends the genre. More inexperienced movie-goers may be tempted to write her performance off as eccentric, but one could never fairly call it excessive. What we have here is a relatively hyper-realistic movie given its' genre, and Spencer brandishes an uncomfortably life-like performance to lay effortlessly into its' grooves.
While not following the artsy or abstract notions of many successful modern horrors, which are fulfilling in their own right, MA falls within the schematic of a kind of gut-churning realism that will feel too far removed from the patterns of metaphor and symbolism we see work so well in the current age of horror. The result is an uncomfortably "too close to home" feeling sitting in your gut as you watch everything unfold; This situation could easily exist, DOES exist. Most of us have known sad individuals like Sue Anne, who's leverage over the unsuspecting victims is so concrete that it feels like a force of nature nigh impossible to be avoided. Kids of this age are often starved for a place in which their rule-governed lives can be overcome for a night. When you combine this with the care-free ignorance of youth, you have a desire so strong it is comparable to sex-drive: irresistible to a fault. Pair this motivation with the emotional/psychological tapestry that makes up that of Sue Annes, and what you have is a perfect storm. Chillingly believable.
This movie won't insult your intelligence nor will it stand on any kind of pedestal. It simply hits its target with extraordinary precision and doesn't flinch once. The director is striking a perfect note, resulting in a work nothing less than PERFECTLY cohesive. He isn't delivering a Friday night schlock-fest, as the marketing for MA led many to believe. What he made is a horror story that can be sad, lifelike, sympathetic, and truly ghastly all at once. And this compared with the tonal assumptions many will walk into MA with will separate the true horror-lovers from the rest.
