Moderated by Steve Weintraub from Collider, the panel featured a trailer for the Horror film ‘Antlers’, and an interview with director Scott Cooper and producer Guillermo del Toro.
Del Toro spoke about the overall message of the film, stating that all the pain and rage incarnate in the movie is like an invocation for the dubious star monster, a Native American legend called the Wendigo, calling it “a metaphor made flesh”.
Del Toro gleefully spoke about the strange intersectionality of his three most influential directors: Disney, Hitchcock, and Spanish-Mexican surrealist Bunuel.
When asked if they were given a ton of money and could green-light any project, Cooper talked about a script he had written for an Edgar Allen Poe film, and of course, del Toro immediately responded with the Mountains of Madness and Frankenstein. Though del Toro added, he would want to do Frankenstein in a 2 to 3 part story, in order to get all parts of the book, as it changes voices so many times and is a complicated story.
Del Toro went on to talk about the filmmaking process, stating that editing is typing with the most expensive typewriter in the whole world. He claimed to be a big believer in the physical medium of DVDs, mentioning he has over 7 thousand of them in his house, likening his collection to when one wants to read Walt Whitman or Ulysses, you go and pull out the physical book and read, or in this case, watch. Del Toro watches all the extras and audio commentary, he said, and explained that by watching your favorite filmmakers closely, their techniques can eventually become a new tool for your tool-belt.
In del Toro’s opinion, the Coen brothers are the best living filmmakers right now, but they’re also the ones who hold the most mystery for fellow filmmakers. Del Toro served as a juror for them at the Cannes film festival, and interviewed them whenever he got the chance, and rhapsodized about their filmmaking instincts being all their own.
Cooper talked about the overlying themes of the film ‘Antlers’ – climate crisis, drug-addicted populace, our treatment of Native Americans, and abject poverty, all wrapped together in a monster film. How he and del Toro worked well together on the setting of the film, and the energy between spaces Coopers films have, referring to it at the Scott Cooper moment.
Cooper talked about ‘Antlers’ being his first immersion into the supernatural, and how risk is one of the great pleasures of making a film. He said, horror films are for people who don’t want to confront the darkness inside themselves directly, and they (horror films) provide an escape.
Cooper spoke about having Native American story advisors on the set of ‘Antlers’, especially his friend and fellow filmmaker Chris Eyre, who made the 1998 film ‘Smoke Signals’, and Professor Grace Dylan of Portland State University, head of Indigenous Studies and considered the foremost authority on the Wendigo.
“The First Nations (Native Americans, et al) in Canada and North America advisers told me they really do believe in the Wendigo. The Wendigo represents greed and colonialism. As a white Anglo-Saxon Protestant raised-Episcopalian, if I’m going to discuss any Native American folklore or themes that discourse through NA life, I want to have people (advising) who know much more about it than I, and I want to get it right.”
Del Toro gleefully agreed, explaining that the Wendigo is a metaphor for insatiability, as in the more it eats, the more hungry it gets, and the more it eats, the weaker it gets. How every character in the movie is enacting or suffering from rage, and are a bunch of broken characters trying to get together.
The master of combining practical and digital effects from previous jaunts such as ‘Pan’s Labyrinth’, del Toro explained he did exactly the same for ‘Antlers’. The Wendigo has specific precepts you have to have, del Toro said, like the name of the film, ‘Antlers’. The design elements have to be almost surreal or abstract, because as del Toro cleverly put it, they’re not creating a monster, they’re creating a God.
‘Antlers’ is set to be released by Searchlight Pictures on February 19, 2021.
Director: Adhik Ravichandran
Starring: Ajith Kumar, Arjun Das, Trisha, Simran
Genre: Action / Crime Drama
Rating: 4.5/5
“Good Bad Ugly” centers on Red Dragon (Ajith Kumar), a notorious gangster who chooses to surrender himself in the hopes of turning over a new leaf and reuniting with his estranged son. However, when unforeseen threats emerge, Red Dragon is forced to step back into the dangerous underworld to protect the only family he has left.
“Good Bad Ugly” plays to the strengths of Ajith Kumar, delivering a fan-pleasing portrayal of both his vintage villainy and his matured emotional depth. Ajith’s powerful screen presence, coupled with his iconic voice, shines against Arjun Das’s brooding and intense new-age antagonist, creating an electric old-school versus new-school dynamic. The nostalgic return of Simran is a clever nod to longtime fans, bringing heart and familiarity. Trisha brings a strong, grounded performance as the moral compass in Red Dragon’s life, helping move the emotional threads of the story. The film smartly balances action, comedy, and sentimental fan-service moments.
While the film delivers on fan expectations, its narrative could have benefited from tighter pacing and deeper character development for its supporting cast. Some plot conveniences and an overreliance on nostalgia may limit broader audience appeal beyond the fanbase. Certain dramatic beats felt rushed, leaving little time for emotional resonance to fully land.
The ambition to blend high-octane action with heavy emotional stakes sometimes leads to tonal inconsistencies. At moments, the shift from gritty underworld drama to lighter fan moments feels abrupt. Additionally, though Ajith Kumar’s effort to showcase his dancing skills is commendable and welcomed by fans, it slightly disrupts the otherwise darker tone the film establishes.
“Good Bad Ugly” is a tribute to Ajith Kumar’s enduring legacy, offering vintage thrills while teasing new dimensions to his craft. It’s a solid entertainer that successfully taps into fan nostalgia while hinting at an exciting evolution for AK. While not without its flaws, the film’s heart, energy, and performances make it a must-watch for fans and a compelling action-drama for broader audiences.
In these uncertain times, you can’t beat a good old-fashioned horror movie. Unfortunately, Presence is not an old-fashioned horror movie. Yet, as I discovered, this is a good thing!
When I heard about the premise of this movie, I was intrigued. The stylishly subtle trailer was, appropriately, haunting. And was that Lucy Liu? A haunted house movie from the perspective of the ghost? As a seasoned horror movie buff, I was all in!
Like the majority of people I missed the films brief theatrical release. Luckily I was able to catch it on streaming. Visually the film is easy to enjoy from your own home, as it’s rather cosy looking. I never thought I’d be describing a horror movie as ‘cosy’ looking but it’s true! This is not a James Wan type creepy, dusty, decrepit house harbouring a haunting. No, this is a 100 year old jewel toned, oak finished colonial style home.
Despite this the story follows the beats we are all familiar with: troubled family of four move into a new house. The big deviation from the trope is we, the audience, are seeing events unfold from the POV of the ghost or presence.
Director Steven Soderbergh (Ocean’s Eleven) chose to film the entire piece using a small (14mm) hand-held digital camera. Soderbergh himself acted as the ‘presence’ following the actors around. From the audiences perspective it is like watching the family through a barrier or pane of glass. Cleverly, windows and mirrors are hugely prominent and integral throughout.
The presence mainly follows and tries to interact with the daughter of the family, Chloe (Callina Liang), who has recently suffered the trauma of her best friend dying suddenly. Through Soderbergh’s experimental filming, we feel the dysphoria and frustration the ‘ghost’ is feeling at trying to affect the world around it, particularly during the anxiety-inducing final scene!
However, in what could be yet another mismarketing of a film, the trailer promised to be the ‘scariest movie you will see this year’ and ‘terrifying’; instead, they delivered this subversive, character-driven, family drama. If you are expecting jump scares and dramatic music stings, this is not your movie. I could understand if someone was disappointed that the only seemingly scary thing is the mother’s and son’s relationship, right up until the gut-punch of the final scene.
Presence is definitely a slow burn, tension building until the final scene, and the unveiling of the ‘presence’ giving us a new understanding of the whole story. The ending is disturbing and stays with you as you re-analyse earlier scenes.
My one complaint is that the character Ryan (West Mulholland) with his Chesney Hawkes hair, perhaps needed more subtlety. The rest of the cast was completely solid and believable as a family with so many unspoken issues.
I wouldn’t recommend this film for everybody but maybe be as so bold to say it’s a horror movie for people that don’t like horror movies. It’s well-lit and cerebral with realistically flawed characters.
Presence is available to stream.
Three and a half stars.
Genre: Action, Fantasy, Martial Arts, Historical
Runtime: Each episode runs approximately 20-30 minutes
Director: Lin Hun (also the Creator)
Studio: Samsara Animation Studio
Main Voice Actors (Chinese Cast):Liu Zhi Shi as Wen Ren Yu Xuan Zhou Qi as Shen Nong Fang Yuan as Xuan
Overview
Fog Hill of the Five Elements is a breathtaking Chinese anime (donghua) that merges traditional Chinese ink-painting aesthetics with high-intensity martial arts action. Created and directed by Lin Hun, this series delivers a spellbinding visual experience that rivals, and in many ways surpasses, mainstream Japanese anime. Produced by Samsara Animation Studio, the anime is a labor of love, known for its hand-drawn animation and meticulous detail.
Set in a mythological world where elemental beasts roam free, the series follows the Five Elemental Envoys tasked with protecting humanity. The story focuses on Wen Ren Yu Xuan, the Fire Envoy, whose actions set off a chain of events threatening the delicate balance between humans and beasts. The tale is steeped in Chinese folklore and myth, weaving a complex narrative of duty, power, and sacrifice.
Without question, Fog Hill of the Five Elements is one of the most visually stunning animated series in recent memory. The blend of traditional Chinese ink wash painting with modern dynamic action scenes is masterful. Every frame looks like a moving scroll painting, with fluid character movements and kinetic fight choreography that puts many mainstream series to shame.
The characters are deeply tied to traditional archetypes found in Chinese legends but are fleshed out with emotional depth and conflict. Voice acting by Liu Zhi Shi, Zhou Qi, and Fang Yuan brings authenticity and gravitas to their respective roles. The dialogue is steeped in poetic language, enhancing the mythic feel of the story.
The soundtrack complements the epic visuals with traditional Chinese instrumentation mixed with modern elements. The sound design heightens the impact of every battle and emotional moment.
Rating: 9/10
Fog Hill of the Five Elements earns a 9 out of 10 for its groundbreaking animation style, deep mythological storytelling, and heart-pounding action. The only downside is its limited number of episodes and slow release schedule, which leaves fans craving more.
Pros
- Unparalleled hand-drawn animation
- Unique art direction inspired by traditional Chinese painting
- Rich mythological lore
- Epic fight choreography
Cons
- Sparse episode release
- Story pacing can be uneven at times
Final Verdict 9/10
If you’re an anime enthusiast or a fan of animation artistry, Fog Hill of the Five Elements is a must-watch. Its fusion of stunning visuals, martial arts action, and mythological storytelling makes it one of the standout titles in modern animation. Whether you’re into Japanese anime or Chinese donghua, this series deserves a spot on your watchlist.
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Presence: A Horror Movie For People That Don’t Like Horror Movies
Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)
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Review of “Good Bad Ugly”
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