Let Me In: Reeves “lets the right one in” to smother his version’s potential
Matt Reeves, “Let Me In”, Hammer Films / Overture Films (2010) Once upon a time
Buried: film just manages to avoid burying itself with gimmicks and diversions
Rodrigo Cortes, “Buried” (2010) For a one-trick pony in which the trick is one man
The Life of Oharu: unsentimental historical drama of one woman’s downfall
Kenzo Mizoguchi, “The Life of Oharu”, Shintoho (1952) This is an excellent film about a
Mother (by Bong Joonho): force of nature that can’t be pigeon-holed
Bong Joonho, “Mother” (2008) There aren’t many good movies these days where the central character
The Housemaid (dir. Im Sang-soo) delivers high-gloss soap opera entertainment
Im Sang-soo “The Housemaid” (2010) How do you remake an old film regarded as a
Rosemary’s Baby: does it reflect women’s oppression by modern life?
Roman Polanski, “Rosemary’s Baby” (1968) Who doesn’t envy young couples these days who dream of having
Let the Right One In: first, the Swedish version is allowed in
Tomas Alfredsson, “Let the Right One In” (2008) Often when a novel is translated to the
Eyes Wide Shut: style wins over substance
Stanley Kubrick, “Eyes Wide Shut”, (1999) I saw this movie ten years ago as there’d been
Miss Mend, Part One: silent film is a real blast from the Soviet past
Boris Barnet and Fyodor Otsep, “Miss Mend, Part One”, (1926) I saw this film
Splice: spliced-together movie unravelling at the joins
Vincenzo Natali, “Splice”, Dark Castle Entertainment (2010) Fans of former Oscar Best Actor winner Adrien Brody