John Lennon: The Last Interview review – Soderbergh imagines there’s no people with bland AI clipshow

Succession of pointless AI-generated snippets does nothing for film about the artist’s final interview, which took place on the day of his murder Coming just after his superb feature The Christophers , Steven Soderbergh has now made a surprisingly moderate documentary, dominated and frankly marred by uninteresting and pointless AI. It is about the inadvertently poignant final interview given by John Lennon and Yoko Ono on 8 December 1980 in New York’s Dakota apartment building, hours before his death. The interviewers were Dave Sholin, Laurie Kaye and Ron Hummel from San Francisco’s KFRC radio station. On their way out of the building with the conversation on tape, they were accosted by a creepy stalker-fan; in attempt to calm the man down, Kaye gave him a brand new copy of John and Yoko’s new album Double Fantasy. This sinister man was Lennon’s future murderer who got him to sign an album – perhaps this very album – and later shot him dead. It is a chilling, stomach-turning twist of f...

Streaming: The Substance and the best body horror for Halloween

Coralie Fargeat’s gruesome body horror satire on ageing, poised for a Halloween streaming release, is a welcome female take on a genre that preys on our deepest fears

The surprise success of Terrifier 3 in cinemas this month – with stories of underage viewers buying tickets to family fare and sneaking into the low-budget gorefest instead – underlines a constant in the mutable horror genre: people will never lose their morbid fascination with the worst possible things that can happen to our bodies. Or the worst impossible things, which is where body horror cinema comes in: the terror of our natural anatomical order becoming, well, unnaturally disordered.

French film-maker Coralie Fargeat, meanwhile, plays on our fear of natural and unnatural bodily deterioration in her swaggering, supersized horror-comedy The Substance (Mubi), a satire on Hollywood ageism that is as broad as a dual carriageway but has enough blunt-force impact to have kept divided audiences talking since its cinema release last month. It cannily makes its streaming debuton 31 October, conveniently sorting out many a Halloween movie night. I found the film overlong and conceptually thin, but there’s gusto in Demi Moore and Margaret Qualley’s dual performances as chemically warring inhabitants of one has-been star’s body, and in its extravagantly disgusting vision of just how far the ageing process can be simultaneously reversed, accelerated and contorted.

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