I’m a psychiatrist who was terrified of horror films – until I learned about ‘cinematic neurosis’

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Why do scary movies thrill some viewers and send others running for the hills? Our writer gets to the bottom of his fear of the genre – with the assistance of Freud, clinical researchers and his six-year-old self I am six years old, and I am watching a man turn into a werewolf. The film is Abbott and Costello Meet Frankenstein, a 1948 comedy. I am staring up at our black-and-white TV fixated on the werewolf transformation unfolding in slow motion and I begin to scream so inconsolably that my parents must carry me upstairs to calm me down. That night was the beginning of my lifelong fear of horror films and of the supernatural, of darkness and of being alone in a house. Continue reading... from Film | The Guardian https://ift.tt/nwdHRqF via IFTTT
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Mickey 17 review – Robert Pattinson proves expendable in Bong Joon-ho’s eerily cheery cloning drama

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The Parasite director delivers an intriguing yet baffling sci-fi epic, featuring panto gnashing bad guys played by Mark Ruffalo and Toni Collette

The Korean auteur Bong Joon-ho has delivered his first movie since the Oscar-winning Parasite six years ago, and it’s a great, big, slightly soft-edged sci-fi-fantasy. Adapted by Bong from Edward Ashton’s novel, it stars Robert Pattinson as a bio-clone menial worker of the future, condemned to eternal life, or eternal death, being repeatedly killed in the service of a space-exploration corporation, doing fatally dangerous jobs and then reincarnated.

It’s a broad-brush futurist satire on the theme of Elon Musk-type tech bros who say that whining about the environment is for libtards because we’re all shooting off for space really soon, where there have to be viable planets somewhere, and any current alien inhabitants are expendable — as indeed are the working humans who are getting us out to new worlds.

Mickey 17 is something in the style of his Snowpiercer (2013) or Okja (2017) and Bong’s “creature feature” reflex is an extravagant style that’s been enjoyable in the past. Mickey 17 is visually spectacular with some very sharp, angular moments of pathos and horror — maybe inevitably, these come in the first act when the bizarrely shocking premise is established and before the story grinds more sympathetically into gear. But at two hours and 17 minutes, this is a baggy and sometimes loose film whose narrative tendons are a bit slack sometimes; the goofy comedy with its panto-villain turns from Mark Ruffalo and Toni Collette sometimes makes it look — not unpleasantly, in fact — like a kids TV special.

Pattinson himself plays Mickey Barnes, a hapless loser who owes money to a terrifying loan sharks, along with his equally rackety business partner Timo (Steven Yeun). To escape these goons, Mickey and Timo sign on for a dangerous interplanetary expedition masterminded by a creepy populist-plutocrat with shiny teeth and slicked-back hair: Kenneth Marshall (Ruffalo) and his lady wife Ylfa (Toni Collette); their presence reminds us of Bong’s apparent interest in Roald Dahl.

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