The uncommon connection between siblings is the crux of RABBIT.
If it wasn’t already taken, GET OUT would have been a very appropriate title for the new screen fever dream by Darren Aronofsky. As it stands, the fact that “mother” (lower-case) is the way Jennifer Lawrence’s heroine is billed in the closing credits, while her husband played by Javier Bardem is identified only as “Him” (upper-case), speaks to a religious subtext that’s just one of the allegories boiling under the film’s increasingly unhinged surface.
It may sound like damning with faint praise to say that LEATHERFACE is the best TEXAS CHAINSAW MASSACRE sequel in a couple of generations, but it manages to recapture at least some of the gruesome intensity that distinguished Tobe Hooper’s original. It may be the first film in this prolonged franchise since Hooper’s that actually has you questioning who will survive and what will be left of them.
With its opening scene of a 19th-century drag performer introducing us to the story of the Limehouse Golem, and the great swell of Johan Söderqvist’s (LET THE RIGHT ONE IN) music behind the main title, it’s clear that THE LIMEHOUSE GOLEM intends to be a ripping yarn in the great British tradition. While that approach leans more toward melodrama than horror, it’s rich and lush enough to be enjoyed by anyone with a taste for full-blooded decadence.
The titular maleficence in IT emerges every 27 years to prey on the people of Derry, Maine, so it’s appropriate that the feature-film version of Stephen King’s novel has arrived the same amount of time after TV gave it a shot. This IT is an altogether more successful translation, partially but not entirely because it can go to the dark and grisly places network television couldn’t back in 1990.