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“X” Review: A Polarizing, Brutal Slasher Packed With Steamy Performances

The director goes off the chains with X in this steamy ode to the 70s about sex, mental health, and aging. Forget everything you know about the horror genre and get ready for the hottest, craziest rollercoaster that defies many taboos.

When you’re a kid, being an adult is mysterious and seemingly so cardinal. As a result, you were always curious about what the adults would talk about when discussing “grown-up” topics. Ti West’s X reminds us of this feeling and demonstrates that we don’t actually differ that much from one another, despite the many years between us. The dark urges don’t go away; in fact, they grow stronger. The director goes off the chains with X in this steamy ode to the 70s about sex, mental health, and aging. Forget everything you know about the horror genre and get ready for the hottest, craziest rollercoaster that breaks many taboos.

Rural Texas, 1970. A group of filmmakers embark on a journey to create a one-of-a-kind adult film. Especially RJ (Owen Campbell), the production’s director, believes it’s possible to make such a film with depth and he’s determined to do so. The group rents a dusty yet charming rustic cottage from the older man to shoot the film. In addition to the directors and those in charge of the setting, the group includes Lorraine (Jenna Ortega)—RJ’s girlfriend, Maxine (Mia Goth), and her partner/boss, Wayne (Martin Henderson), and the film’s main characters, Bobby-Lynne (Brittany Murphy) and Jackson Hole (Kid Cudi). As the cast and crew attempt to shoot an adult film under their hosts’ noses, the elderly couple catches them in the act. The tone quickly shifts to a brutal slaughter rife, full of naturalism and commentary on generational divides and our need for physical pleasures that only grow in adulthood.

Ti West’s X story almost constantly plays on our digust, and shock to see what’s natural in such an unapologetic way. The director, known for his work on The House of the Devil, gives the genre a new twist and breaks all the taboos when in terms of lovemaking and physical pleasures. The film is sensual, enthralling, brutal, and mind-bending. It’s unlike anything I’ve ever seen; X is for people willing to see things they have never seen before.

When the main cast lacks the ability to carry the film, it’s unlikely to be a success. X’s extraordinary cast—Ortega, Goth, Snow, Campbell, Cudi, and Henderson, elevates the movie to a new level, delivering polarizing, steamy, perhaps contentious performances. Ortega and Goth stood out the most to me and shined the brightest in their strong-willed and even empowering roles. Ortega, in particular, demonstrates herself to be a fantastic scream queen for the contemporary time and audience. What began with Scream continues in X. Even though she isn’t the lead in this adult-movie-gone-brutal scenario, the actress is captivating and excels in the role.

In a way, X feels like a throwback horror film and exudes big 70s vibes thanks to its killer soundtrack, editing, and cinematography. With the addition of the brutal kills and scenes that will stay with you for the rest of your life, X becomes one of the most shocking films of the year, deserving of acclaim in the same way that Ti West deserves ovations for breaking so many taboos and forcing the average audience to open their minds.

X is a vastly pleasing bloodbath in which the creators blend a groovy, liberating ambiance of the 1970s with an adult film topic, and slasher. The entire setting is deliciously composed, with every component meticulously detailed.

X could be a literal story about the production of a crazy adult movie that simply gone horribly wrong. It could also be a tale about our wants and the hypocrisy of people who judge others for their desires while harboring the same exact ones deep within themselves. Ti West makes sure that we’re thoroughly shocked, maybe even disgusted by what we see. The director highlights naturalism and thrives in it. There are no ghosts, but an ugly, dangerous truths about people and their unstoppable needs.

X is not a film for the faint of heart. West’s story throws us right into the deep water, broadens our horizons, and provokes us. It’s an unforgettable film worth revisiting, with a soundtrack jam-packed with bangers and performances out of this world.

Grade: A

„Texas Chainsaw Massacre” is a gruesome film for the acquired taste

Texas Chainsaw Massacre won’t be for everybody and that’s as obvious as the fact that the film’s killer wears someone else’s face in every film. But its amount of gore and elaborate death scenes may satisfy a horror/slasher/Leatherface fan.

February 22nd, 2022

The slashers’ beauty, among others, is the chaos and confusion the various franchises cause in the audience who often attempts to understand the chapters’ ultimate order and tirelessly find a deeper meaning. But the truth is—while the deeper meaning may be there, it’s not always the case nor should it be. This is why Texas Chainsaw Massacre is a great new entry into the franchise and becomes an interesting continuation filled with campiness and gore.

One may even call it a requel, as per Scream’s new horror expert, Mindy. Or I claim it to be. In David Blue Garcia’s newest film (now streaming on Netflix), Olwen Fouéré portrays Sally—a quite legendary figure and Leatherface’s only survivor from the original Tobe Hopper’s movie.

Marilyn Burns portrayed Sally in Hopper’s production. But, given Burns’ untimely death, would this be the ultimate exception, and the film is, in fact, a requel? I certainly believe so. The film is that and so much more. It strives to deliver as much gore as possible. Fede Álvarez and Rodo Sayagues, the writers of the gruesome script, ensure that we remember the elaborate death scenes.

The film follows a group of friends—Ruth (Nell Hudson), Dante (Jacob Latimore), Melody (Sarah Yarkin), and her sister, Lila (Elsie Fisher), as they travel to Harlow, Texas, to execute a new business idea. Their mission is to resurrect a Texas ghost town and invite others to join them and create a new community. It sounds like a dream, especially in the contemporary life where the daily routine is going a little bit too fast.

According to the familiar plot, they have no idea they are about to encounter Leatherface (Bob Burnham), the legendary serial killer who wears a mask made out of human skin. The man seeks vengeance on the young people who, whether they intended or not, contributed to his caretaker’s death (Alice Krige).

But after the surprising arrival of the Learherface’s survivor, who seeks her own vengeance, everything turns into a bloody, absurd, and gruesome spectacle that leads to an expected yet still satisfying finale.

The level of acting is rather shadowed by everything else in the film. The script is known, predictable yet it manages to make us squirm. Sarah Yarkin and Elise Fisher as estranged sisters make a great and entertaining duo, especially in *that* bus scene. Additionally, the creators attempt to include a social commentary on the school shootings in Lila’s character and how greatly they affect the students. The matter is serious and worth discussing but it seems misplaced amongst other elements of the film.

If you’re an average viewer, it may be quite difficult to rate slasher films as such, especially when the creators focus on the visual, gruesome aspects, not the story itself. They’re not putting pressure on the character development. Instead, they focus on the villain and his revenge.

Knowing this and remembering that slashers recently tend to mock its own genre and other films that we can categorize as requels, one must realize that Texas Chainsaw Massacre values gore more than the solid narrative. The director doesn’t limit the amount of blood splattering, presenting possibly the bloodiest rage of Leatherface. It’s a spectacle filled with broken bones and countless moments of Leatherface slicing into his victims’ flesh. After the young people get involved, the rage grows and spirals out of control. You may not be expecting this much violence, so brace yourself for a wild ride.

As previously stated, slasher films revel in the over-the-top story or elements that poke fun at other creations, such as the worn-out but somehow always engaging stereotype of the killer remembering, even seeking, his first victim—the one who got away. A similar notion can be found in Texas Chainsaw Massacre. With a parallel narrative in the new installment, the creators appear to be making fun of recent Halloween sequels. Whatever it is, it’s effective and not at all disrespectful—it even further highlights the campiness of recent slashers.

However, we can only speculate as far as director’s intentions are their form of art and may not ever be known. Nonetheless, the film is a welcomed diversion from everyday life. Instead of chasing deadlines and worrying excessively, it’s sometimes nice to enjoy screaming at a bloody slasher.

Texas Chainsaw Massacre won’t be for everybody and that’s as obvious as the fact that the film’s killer wears someone else’s face in every film. But its amount of gore and elaborate death scenes may satisfy a horror/slasher/Leatherface fan.

Grade: C+

Sundance 2022: “892”, “Brainwashed: Sex-Camera-Power”, “Fresh”, “Emergency”

Due to the increase in cases, the 2022 Sundance Film Festival’s board decided to go entirely virtual, similar to last year. Despite the sudden changes and additional obstacles, the program was meticulously prepared, as evidenced by the graphic design, interviews, and pre-screening chats.

The following article recapitulates a few positions that I’ve had a chance to see in the last few days during Sundance 2022. The films differ from each other in terms of genres, style, and the after-thought that they provoke.

Emergency

The first film I saw at Sundance 2022 was Emergency. Directed by Carey Williams, the film initially appears to be a witty comedy. On the other hand, the third act transforms into a powerful statement, prompting self-reflection and stimulating debate.

The night can flow in various ways, and the group of friends is about to find out. As they prepare for a legendary party night, three college students—Kunle (Donald Elise Watkins), Sean (RJ Cyler), and Carlos (Sebastian Chacon)—must decide whether to call the police when they find themselves in an unexpected and dangerous situation.

Cyler, Chacon, and Watkins give competent and thoughtful performances that linger with a viewer for quite some time. Watkins as Kunle, in particular, manages to intrigue and move the audience during the heartbreaking finale. The film begins almost innocently, but its presence is intended to make a statement about police brutality and highlight how frequently the Black community is forced into difficult situations.

Emergency holds the audience’s attention with a solid narrative and detailed direction. In addition, the superb cast ensemble captivates at all times.

Fresh

Mimi Cave’s spine-chilling thriller, with an elevated script by Lauryn Kahn, not only shocks but disgusts. Fresh is perhaps the biggest surprise of this year’s film festival, and it’s one we won’t soon forget thanks to its complex script and shocking conclusion.

When Noa (Daisy Edgar-Jones) is about to give up on numerous dating apps and the mission of finding “the one,” she meets Steve (Sebastian Stan), a charming and educated man. Contrary to popular belief, the couple meets at the bar in an old-fashioned, even archaic manner.

But Noa quickly realizes that even the old way won’t work if you’re only out for meat and blood—literally. In a shocking twist, the main female character becomes a prisoner of true evil and fights for survival at any cost.

Fresh isn’t an easy watch; it will often shock you to your core and put your instincts to the test almost every step of the way. There are numerous possible conversations to have after the closing credits roll on the screen. First and foremost, the film reminds us of the perils that await single women in this brave, new world. Furthermore, it provides a contemporary commentary on society, materialism, and the splendor surrounding the riches—highly recommended.

892

Nothing can prepare you for what Abi Damaris Corbin accomplished in 892. The thriller, co-written with Kwame Kwei-Armah and premiering at the 2022 Sundance Film Festival, is filled with shocking twists and turns, and unbelievable tension.

Brian Brown-Easley (John Boyega), a Marine veteran, faces mental and emotional difficulties as he attempts to reintegrate into civilian life. Unfortunately, Brian’s situation worsens when Verenan’s Affairs withholds the last of his paychecks.

Utterly helpless, the man decides to rob the bank. After Brian takes the measure into his own hands and takes bank tellers Estel (Nicole Beharie) and Rosa (Selenis Leyva) into a hostage situation, we can thoroughly feel Brian’s high range of strong, ambivalent emotions that fill the screen.

892 doesn’t slow down for a single second. It commences swiftly, keeping the audience on the edge of their seats for almost the entire film. Boyega, Beharie, and Leyva are all enthralling and often heartbreaking characters. I was floored by 892, which, with the appearance of late Michael Kenneth Williams, left me nearly screaming with helplessness towards this country’s broken system.

Brainwashed: Sex-Camera-Power

While diversity and female representation continues to grow and evolve as we educate ourselves, many harmful elements in our daily lives remain ever-present and, worse, go unnoticed. Thankfully, Nina Menkes takes matters into her own hands in Brainwashed: Sex-Camera-Power, focusing on a critical subject: the portrayal of female eroticism in film through the male gaze.

Menkes raises awareness and zeroes in on a serious yet critically overlooked issue in the film industry by presenting collected data and conducting interviews with specialists. Furthermore, the director provides many brilliant and comprehensive examples from films spanning many decades to help better visualize the problem and be aware of it as we move forward.

Brainwashed: Sex-Camera-Power appears to be an ordinary documentary, yet it feels different as it focuses on the issue of female eroticism presented via the male gaze and presents the negative results of it that we must address quickly. Menke’s film does a good job of bringing the issue to light, and its structure is substantive, clear, and, more important; necessary.

2022 Sundance Film Festival is taking place from January 20 to January 30 virtually on www.https://www.sundance.org/.

‘Halloween Kills’ is A Bloodthirsty, Gory Spectacle Filled With Campy One-Liners

Halloween Kills is a crazy rollercoaster filled to the brim with blood, a high body count, elaborate kills, and a hysterical, entertaining script. The slasher directed by David Gordon Green, a creator of the 2018 chapter, will be a feast for the Michael Myers fans, but it may not be to everybody’s taste.

*Michael Myers (aka The Shape) in Halloween Kills, directed by David Gordon Green*

When we hear Michael Myers’s name, we immediately think of a white mask, a work coveralls in a dark blue/gray color, or a bloody knife. Everyone knows his name, whether they’ve seen the slasher franchise or not. This Halloween season, Michael Myers is back, wanting to spill more blood. Halloween Kills is a crazy rollercoaster filled to the brim with gore, a high body count, elaborate kills, and a hysterical, entertaining script. The slasher directed by David Gordon Green, a creator of the 2018 chapter, will be a feast for the Michael Myers fans, but it may not be to everybody’s taste.

Laurie Strode (Jamie Lee Curtis) has been on the run from the masked killer for quite some time. Forty years, to be exact, as mentioned frequently by the film’s characters. Following the events of the previous part, Laurie, her daughter Karen (Judy Greer), and her granddaughter Allyson (Andi Matichak) are transported to Haddonfield Hospital. Meanwhile, the infamous Boogeyman flees the burning building (sic!), killing many first responders in the process. Shortly after, the plot of Halloween Kills picks up when Tommy Doyle (Anthony Michael Hall), Lonnie (Robert Longstreet), Lindsey (Kyle Richards), and the nurse Marion (Nancy Stephens)—all of whom are survivors of previous encounters with Michael—band together with other residents of Haddonfield to apprehend the killer and ultimately defeat him.

There are horror films that shake the audience to their core and psychological horror films with deeper meanings. There are also slashers, a horror subgenre. Its most significant components are blood, killings, and cheesy dialogues. Halloween Kills has all of the above. The horror is a fun ride for fans of the franchise and horror films in general. This time, Laurie Strode takes a back seat as the younger generation takes the reign. After the turbulent events and the death of her husband, Karen is shaken and more cautious, insisting on keeping watch by her mother’s hospital bed. Allyson, on the other hand, desires the opposite – the young woman is filled with rage and a want for vengeance. Greer and Matichak are a fabulous mother-daughter duo who especially steps into the spotlight. Especially Matichak as determined Allyson who refuses to give up gives a great performance.

*Dylan Arnold, Andi Matichak, and Robert Longstreet in Halloween Kills.*

The return of Kyle Richards and Nancy Stephens is a tempting prospect that tremendously intrigued the audience and die-hard fans of the 1978 slasher; finally, two of the original characters return to confront Michael. Unfortunately, while it was a great idea on paper, the film doesn’t devote enough time to the legendary characters. Instead, Anthony Michael Hall takes the narrative and transforms it into a battle between Michael and the residents of Haddonfield. Beware, the phrase “Evil dies tonight” is repeated frequently, and whether it was a coincidence or a deliberate goal, it provides excellent entertainment and an occasional eye roll. It also opens a possibility to a great drinking game.

The Halloween franchise is a lot of things, but cheesy was never one of them, at least not to this extent. However, because of Kills‘ over-the-top script, many hilarious one-liners become stuck in one’s head. The chapter ups the ante on the body count, which is exactly what we want from a slasher. Michael also gets very creative with the death scenes, whether it’s eyes popping out of the skull, a cracked bottle slicing the neck or a chainsaw.

It’s not advisable to look for logic or an ambitious script. Otherwise, you’ll be let down. Michael Myers is The Shape, The Boogeyman, the figure in the shadows who creeps up on you and murders you when you least expect it. But he won’t die, no matter how many times you shoot him, slice him, kick him, or even try to burn him. Instead, he wants to return to his childhood home, walk upstairs, and stand quietly by the window, staring at himself in the mirror. The sooner people grasp it, the better!

Best advice? Expect blood, guts, broken limbs, and cheesiness, and you’ll have the best time with the slasher. That is precisely why the film works. It’s difficult to say if this was David Gordon Green’s specific goal or not. Nonetheless, if you’re a Michael Myers fan, Halloween Kills provides plenty of entertainment. It’s a film that will surely diversify the audience and may spark a polarizing discussion. But, without a doubt, it’s a great position for the spooky season.

Grade: 7 out of 10

Halloween Kills is currently in cinemas as well as on Peacock with an upgraded subscription.

The Film Nerdette Talks Pop Culture

December 4th, 2020

Welcome to my website! If you’re on Twitter or, more specifically, you’re interested in film and television and you’re on Twitter, you may have seen my profile while scrolling down. My name is Zofia Wijaszka and I’m a Los Angeles-based film and television critic. I am contributing writer for Awards Watch, First Showing, Nerdist, and many more publications. Before I moved to the United States and found outlets who let me contribute, I’ve written for Polish film portals such as Gildia Filmu, or local newspapers – all that while studying journalism and social communication with creative writing (sic!). Don’t ask me why.

My work varies. I can write a review of the new film with Margot Robbie, then you find me speaking about how Krampus is the best holiday film – seriously. My interest is mostly female characters in the pop culture discourse, but not only. Hence, you can find me talking about What We Do in The Shadows a LOT.

I’ve had this website for quite a long time – since 2016. I abandoned it, however, when I started my freelancing. But since sometimes I really want to write about something and there is no time to pitch said idea, I decided to revive my old website. And before you think you’ll find my old articles here, let me stop you right there and say – no way. The amount of overall cringe I have found was quite overwhelming and I don’t want to expose you to this.

My adventure 2.0 with the website will start with my review of The Prom which should go live this weekend or Monday so stay tuned if you want to learn my thoughts on Ryan Murphy’s new musical.