As our society grows more comfortable with conversations about mental health and the demons that many carry throughout life, it is becoming a well-known fact that the demons our soldiers and veterans saddle on their back during and after combat can be the most deadly of all.
The new suspense-filled indie Recovery does more than offer cheap thrills, it also sheds light on a dark issue: the lack of support for those put through the perils of war when they return. “According to a study conducted by the RAND Center for Military Health Policy Research, less than half of returning veterans needing mental health services receive any treatment at all.” This is an issue that has long gone unsolved and has inevitably led to another issue of self-medication in a variety of methods, causing matters to spiral even further.
Recovery intertwines the two social epidemics of untreated mental illness and drug addiction, painting a picture of our fraught reality, while also foreshadowing a potential future when the pot eventually boils over (mild spoiler: our main character never really receives help that she needs).
The film takes place at a secluded all-female heroin treatment center in the middle of a fierce snowstorm. Stephanie Pearson gives a riveting performance as Ronnie, a young recently admitted addict who has already gone through three tours of Afghanistan in her life and struggles deeply with PTSD, along with self-denial of her illness. Her symptoms include hallucinations and blackouts that often result in violence and a lack of recollection. She is rebellious, impulsive, and quick to pick an argument with anyone in her way.
Her first interactions at the establishment are with Dr. Jessica Barnes (played by Hope Quattrocki), who is stern, yet has a soft spot for Ronnie, most likely due to the fact that her own brother also served and dealt with the after-effects. Ronnie has a series of blackouts resulting in violence during her first days at the center and the head of the facility, Dr. Taylor (Mike Starr) ultimately decides to discharge her but must wait until the police come in the snowstorm. The atmosphere is already tense until mysterious murders start occurring. All fingers are immediately pointed to Ronnie, but things just aren’t adding up in that narrative. Now, let’s get into the meat of it, shall we?
The pros:
The editing had to be my favorite part of the film. There are these infrequent flashes of ominous looking men, most likely from Ronnie’s past military experience, haunting her before she has a violent blackout. If you choose to give the film a watch, the scene where she gets her uniform out truly gave me chills. The directing and editing choices give an authentic moment of blurring trauma-induced imaginings with reality. This happens more than once, with Ronnie’s hallucinations signaling to her that she is in danger, only to have her mind betraying her as she becomes violent with someone innocent.
As said before, Ronnie’s characterization was really well fleshed out and the performance was in tune with her lines. We know her and we understand her. Everyone else’s characters lagged a bit as a result, but I found myself desperately wishing Katherine (Aily Kei) had some lines! She was a phenomenal supporting role as a young woman struggling with addiction all her life and having communication problems so severe that she is almost somewhat mute. Clearly, her lack of lines is necessary given her character, but it was so convincing that I found myself yearning for Aily Kei’s other performances.
Now for the cons:
I really struggled with some of the details of the story. First off, this is not a horror. Yes, there’s blood and gore, but as the horror genre reaches new heights with new thoughts on fear and the psychology of the viewer, this film falls much more in the thriller genre. And though it aims to touch on PTSD and mental health, as well as how these ailments intersect with drug addiction, there is an abundance of unsatisfactory tropes of rehabilitation patients being portrayed as hopeless cases.
The dialogue is lackluster, failing to explain the important background on some of these characters which just leads the way for stereotypes to manifest. In this day and age, we must get deeper with these issues. There is no true depth to anyone but Ronnie.
In conclusion..
Even though the story bored me at points, lines fell flat, and the music was just not the best, the subject matter of Recovery is important and represents a growing disdain for the lack of resources for veterans. Just take a look at the Army tweet that, well, didn’t go so well. If you’re looking for a decent thriller with some dynamic cinematic choices that also connects to relevant social issues, I would give it a watch. Though there is a clear villain in the end, the monster of unchecked PTSD is also a killer here, as well as in reality.
New horror thriller RECOVERY released on June 4th, 2019 in the U.S. and Canada in-stores, digitally, and on demand.
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.
Review of “Good Bad Ugly”
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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