The Best Films of Fantasia 2019
Horror, fantasy, Hong Kong action, animation, strange documentaries, thought-provoking science-fiction, Japanese new wave, and martial arts are just among the many genres the Fantasia Film Festival covered in its twenty-third year of programming. Famous for being the largest genre film festival in North America, Fantasia is packed with Canadian, North American and worldwide feature-length premieres as well as shorts. This year’s line-up did not disappoint.
With over 130 films screened, it’s impossible to see them all. Festival veterans and newcomers alike had a stunning choice of movies to discover and while it may not have been Fantasia’s strongest year (that honour still goes to the 12th edition) the lineup was incredibly strong once again.
After twenty-two exhausting days of nonstop movie watching (and writing), our staff has watched over 70 films and written well over 40 reviews and now we’re ready to reveal our personal favourites. In no particular order, here is the list of movies we most recommend watching when and if you ever have the chance.
Side note: We will still be producing a ton of coverage over the next four days, so be sure to check back for more reviews, features and even a podcast.
Those of you searching for truly original work, look no further. This impressive first feature from Montreal-based duo Chris Bavota and Lee Paula Springer is one of the most unusual films ever fashioned out of the fears of depression. The script alone is a marvel of subtlety and intelligence, and for a micro-budget film made in a span of only ten days, Dead Dicks is funny, unexpected, and engaging.
Dead Dicks is the surprise hit of this year’s Fantasia Film Festival — an ingeniously engineered slash of modern horror that doubles as a poignant family drama addressing topics of dependency, identity, and mental illness. It is clear that Dead Dicks is also a deeply personal film, and one can feel the passion and love that went into making each and every frame. (Ricky D)
Come to Daddy
Come to Daddy
Come to Daddy is a genre-bender and one of the finest genre films of 2019. It’s a grueling little noirish thriller with slasher-worthy gore and humour that is sure to make audiences laugh. There’s no shortage of scenes that you’ll watch through your fingers but you’ll watch all the same to witness the many secrets, successful twists, and brilliant performances it offers. Come to Daddy is certainly a strikingly assured first feature and recommended viewing for genre fans everywhere. (Ricky D)
A Good Woman is Hard to Find
A Good Woman is Hard to Find
Though at times it may seem as quiet and unassuming as its main character, A Good Woman is Hard to Find is a low-key thriller that knows how to draw attention to itself at just the right moments, expertly building tension from muted scenarios before punctuating them with bloody release. Though an anticlimactic end perhaps puts too neat a bow around the otherwise messy and fascinating package, confident direction and compelling performances bolster the deliberately paced story, resulting in low-key thriller that is rarely less than gripping.
This story of a blue-collar, widowed mother whose husband was recently murdered falls square into the ‘pushed too far’ section of the genre, as she is subjected to daily humiliations and the threats of a goofy-yet-menacing two-bit drug peddler. Eventually, the dam must burst, and the young woman must fight back. But what separates A Good Woman is Hard to Find from much of the empowerment pack is just how skillfully it paints its picture, never putting a halo over anyone’s head. Writer-director Abner Pastoll mostly maintains a more grounded subtlety, not afraid to understand that human beings come in shades. So, while the sadistic crime boss might not feel too out of place in a Guy Ritchie film, the rest of the characters are given dimension enough to keep viewers on their toes.
The proceedings eventually come to a boil in a brilliantly staged and edited event that is appropriately bloody and squirm-inducing, but the lack of sensationalism preceding it increases the impact. Anchored by Sarah Bolger’s powerful performance as a suppressed woman finally discovering what she might be capable of, and showcasing Pastoll’s confident, steady direction, A Good Woman is Hard to Find is a subtle thriller to look out for. (Patrick Murphy)
Lake Michigan Monster
Lake Michigan Monster
Emerging from the murky depths of the state of Wisconsin, Lake Michigan Monster is a dizzying whirlpool of goofiness that manages to bizarrely combine the hit-or-miss broadness of a sketch comedy show with a rapid array of mesmerizing imagery that pays homage to black-and-white creature features, the imagination of Georges Méliès, and German expressionism. The resulting freakish spawn might not always swim gracefully, but neither did the rubber suit in The Creature From the Black Lagoon, and both turn out to be quite a bit of fun.
A makeshift plot about a sea-captainy fellow seeking revenge upon the titular beast who killed his father doesn’t hold much water, and those wanting more of a sincere love letter to the kind of cheesy drive-in movies that serve as inspiration might be a tad disappointed at the overt zaniness. Still, it’s hard not to smile at the film’s overall good nature as it zips merrily along, showcasing feverish dream sequences, a pirate painter, a haunted ferry, a magical underwater journey, sneaky tentacle attacks, and a large, spotted egg that may or may not be an abomination of nature. These are all fantastically imagined, and cheap has rarely looked so good; each successive edit holds the promise for something dazzling to appear on screen next, something the film delivers more often than not.
Add a likable cast (even if they come off a bit stilted at time) whose humor is sometimes surprisingly effective to the sheer amount of sensational images that the makers have managed to cram in, and Lake Michigan Monster becomes sunken treasure — a rollicking fish story jam-packed with old-fashioned cinematic goodies. Movie lovers should seek this goofy gem out wherever they can. (Patrick Murphy)
Working less as a Shakespearean political drama and more as a small-scale, fantastical period piece, Shadow is decked out in luscious trappings and painterly compositions, bolstered by passionate performances and balletic battles with umbrellas made of blades. The result is both shallow and rich, but remains a look at ancient intrigue that always manages to entertain one way or another.
The story revolves around a body double who has taken the place of the legendary but critically-wounded Commander of the kingdom amid an effort to recapture an ancient city from an uneasy ally. Typical court figures make an appearance, such as a deceitful king, a fiery princess, a sniveling courtier, and a loyal general. They each have Machiavellian schemes of their, spinning webs that will eventually become entangled with one another’s, and those who casually wander into this inter-kingdom squabble will no doubt soon become as lost in the plot as these ancient civilizations themselves.
The real reason to watch Shadow is for the sumptuous look of every frame. Working with a relatively small canvas, director Zhang Yimou has carefully composed grandiose images filled with nuanced staging, deliberate movement, and indelibly rich texture. His choices give otherwise modest engagements an epic feel, and not just in moments where swords are flashed. He is aided greatly by a magnetic cast, whose faces display just the right amount of expression for each conversational duel. They are eminently watchable, completely up to the task of holding down the fort even when besieged by layers of backstabbing that would require a more talented contortionist than the script is capable of.
That’s Shadow itself; from one-on-one political maneuvers to an entertainingly inventive battle involving hundreds, there is almost always something splendid to soak in, even if it makes your head spin. (Patrick Murphy)
The Father’s Shadow
The Father’s Shadow
Written and directed by Gabriela Amaral Almeida, The Father’s Shadow is the sort of film that only comes around once in a while — the perfect marriage between genre ghoulishness, mystery, and genuinely earned drama, ripe with characters that the viewer deeply desires to see happy by the film’s end. So often ghost and monster movies feature characters that might be funny, might be somewhat engaging, but generally adhere to age-old personality tropes that tick off the boxes needed to make a ‘horror film.’ Then there are more rare breeds like The Father’s Shadow, a movie that strives for something more. Not implicitly better, for that would imply that general horror movie fair is to be snubbed (why would we enjoy Fantasia so much were that the case?), yet aiming for something that makes a horror movie that much more whole, and that much more dramatically satisfying. (Edgar Chaput)
There is a lot to discover at Fantasia; make no mistake about it. Yes, there are provocative pieces of artistic expression that use genre filmmaking as their platform, and the festival is all the better for offering those filmmakers a venue in which to share their work. Then, there is the other type of movie that the event features: the populist, undeniably charming winner. This is Extreme Job. Leaving the theatre after this movie is like leaving a great restaurant with friends. The stomach is comfortably full, the gang has shared a barrel of laughs, the service was great, and the taste buds are still giddy. Three-star Michelin, it may not be, but damned if it wasn’t an awesome place for a mid-afternoon lunch. (Edgar Chaput)
Blood On Her Name
Blood On Her Name
Blood on Her Name is a gift from the formidable duo of Matthew Pope and Don M. Thompson, who expertly bathe their film in a realistic southern state atmosphere so authentic that one can practically feel the heat waves from off the screen. There is little question that they understand the ebbs of flows of noir, that most difficult to define of film movements (not a genre, as many a cinephile would quickly retort). Many of its beautifully twisted tropes resonate loudly throughout the film, with the filmmakers adding some modern flavours to the fold, in addition to the aforementioned southern personality, which, to be perfectly honest, brilliantly adds another layer of toughness to the story. There is something to be said about how certain people of the region have a habit of handling their issues with a particular forcefulness or bluntness that makes them unique in the United States. That rugged attitude serves film noir especially well, with Blood on Her Name serving as a prime example of the wonderfully and dangerously charming aura southern USA carries itself with. (Edgar Chaput)
Why Don’t you Just Die!
Why Don’t you Just Die
Making a room full of dead bodies funny isn’t nearly as easy as you might think. Black comedy, especially the pitch-black kind that involves things like murder and dismemberment, is probably the hardest kind of comedy to get right. Get something wrong and you just come across as mean-spirited — or worse yet, you fail to be funny entirely. But when one gets the formula right, the result is a sure-fire crowd-pleaser (especially if your crowd is at Fantasia). A fairly simple narrative that takes place mostly in one cramped apartment, Why Don’t You Just Die! is the kind of film guaranteed to have its audience caught in a constant stream of “ohhhhs” as characters careen headlong through walls, or have CRT TVs collide with their faces at unhealthy speeds. Like a live-action Looney Tunes cartoon, the film is a cavalcade of brutal violence and dry wit, but with gory consequences to the former. Crude, messy, and over-the-top in all the right ways, it might just go down as this year’s best Fantasia crowd-pleaser. (Thomas O’Connor)
For the most part, we all want a place to belong — a community that loves us and accepts us and pushes us to be the best versions of ourselves. 1BR takes this need and poses the question of what we’d be willing to endure to obtain that. Would we be willing to undergo the brutal events that befall poor Sarah? To potentially surrender a significant portion of our agency in order to find such a group? It seems like an easy question, but Marmour and his cast throw doubt into the mix — seemingly for Sarah, and in all likelihood, for much of the audience as well. Community and belonging are intoxicating things, and sometimes come at a high cost. But how high is too high? After seeing the film, you may not be so sure anymore. (Thomas O’Connor)
The Purity of Vengeance
The Purity of Vengeance
The fourth installment of the popular Department Q series, adapted from the novels by Danish author Jussi Adler-Olsen, has all the elements of a great thriller. A gloriously macabre crime scene is discovered, seemingly ripped from the pages of an EC Horror comic, that includes three mummified corpses seated around a set table in a walled-off room. Two hard-bitten detectives take the case, but what begins as a simple murder investigation soon leads to a sinister conspiracy that reaches to the highest levels of government. There are explosions, chases, a shootout or two, and the airing out of some very dirty laundry from Denmark’s past. While lacking a degree of cinematic flair, The Purity of Vengeance is a cracker of a movie, with an engaging cast and an unflinching desire to bringing the injustices of the past into the light. (Thomas O’Connor)
‘The Divine Fury’ is a Cool Horror-Action Hybrid that Offers Something for Fans of Both Genres
The Divine Fury has a premise you could only find in a film that would premiere at a genre film festival like Fantasia. Yong-hoo Park, champion MMA fighter, develops a bleeding wound on the palm of his hand, and medical science cannot help him. Further assailed by voices and terrifying visions, Yong-hoo turns to a medium, who directs him to Father Ahn. Ahn is a sanctioned exorcist, and one of many Vatican agents on the trail of the sinister Black Bishop, an occult practitioner who has amassed demonic powers. Father Ahn informs Yong-hoo that his wound is a stigmata, a powerful tool in the battle against evil. This comes as something of a surprise to Yong-hoo, a devout atheist since the death of his father. With his new mentor, Yong-hoo becomes a force for good — a demon-punching holy avenger who uses his physical and spiritual gifts to battle the Black Bishop.
From that description, you couldn’t be blamed for imagining something like that one scene from Peter Jackson’s Braindead, or maybe Ninja 3: The Domination, if you’re a fan of 80s Cannon Group cheese. Even worse, you might be imagining some kind of hokey, low-rent religious superhero movie, like a South Korean Bibleman. But you’re in for a surprise; while it could easily have set its sights on camp and gunned the engine, The Divine Fury instead goes a different route, playing its bonkers premise almost entirely straight. From the outset, Joo-hwan Kim’s film remains utterly sincere about itself, mixing horror and action with some deft direction and a stellar cast to create a dark, engaging, and fun hybrid.
Painting a dark and stylish portrait of modern Seoul, Kim’s direction comes off almost from the first frame as slick and confident. Smooth, elegant camera movements glide through the dimly-lit streets, where shadows lurk and fear reigns. The film often surprises with some wonderful imagery, and walks a fine line between stylish and efficient. When things start hitting the fan and demons emerge to menace our heroes, the film also busts out some serious effects wizardry, with top-notch makeup and creature effects bolstered by clever and dynamic camera work. There are flashes of terrific art direction, with brief tantalizing glimpses of a beautifully realized world of demonic forces, and even real-world locations like the Black Bishop’s luridly-lit nightclub make for interesting and unique backdrops.
As Yong-hoo and Father Anh grow closer, it becomes apparent that their chemistry and onscreen charm is one of the cornerstones the film rests on. Even when they’re just sharing a meal, the two leads are terrific to watch together, with an easy and natural chemistry that makes them eminently believable as friends, despite their vast differences in outlook. Of course, Father Ahn’s platitudes and homilies often come across as stock and predictable, and the film’s attempts at a theological discourse are pretty shallow. But when it can’t muster a convincing theological argument, the film defaults to much more universal fare in its message: defend the defenseless, oppose evil. Who can argue with that?
The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades.
The confident direction and charming leads do help make up for one crucial shortcoming, though: the film may have a lot of the divine, but it’s a tad short on fury. After a tantalizing fight scene early in the film teases some great action, no punches fly until the film’s showstopper of an ending. For those expecting a rock ‘em-sock ‘em actionfest, much of The Divine Fury’s middle section — the vast majority of the film — may leave them cold. But be patient. Enjoy the atmosphere and the more horror-oriented segments, because that patience will be rewarded. When the film reaches its final sequence and Yong-hoo finally unleashes his holy fisticuffs, the result is, well, divine. The climactic action sequence in The Divine Fury is one worth waiting for, a slick and deftly delivered pair of fight scenes that will have action fans cheering in the aisles. The camera maintains a perfect distance, allowing the physical performances of the actors to take center stage, and never obscures the action with jittery movement or rapid-fire editing. The presentation is dynamic, but never overwhelms or distracts from the solid physical performances by star Park Seo-joon and the stunt team. The Divine Fury will make you wait before it delivers the goods, but when the time is right, it delivers them in spades.
The Divine Fury is a fun, surprising and just plain cool horror-action hybrid that offers something for fans of both genres. Kept aloft by two engaging and charismatic leads and some top-notch direction, it pulls you into its ridiculous world of exorcisms and action with gusto. While it does make you wait before it fully unleashes its premise, which can and has strained the patience of some viewers and critics, its final action sequences are worth waiting for.
Editor’s Note: This article was originally published on August 2, 2019, as part of our coverage of the Fantasia Film Festival.
‘Promare’ Feels Like the Younger Brother of ‘Gurren Lagann’
Gurren Lagann is a cult classic directed by Hiroyuki Imaishi, and written by Kazuki Nakashima. It has over-the-top action, constant bravado, quotable lines, and non-stop escalation into madness. Subtly is not a common word used in Imaishi and Nakashima’s vocabulary, and luckily, fans of their work will not be disappointed with their newest animated movie, Promare. Hot-headedness (literal and metaphorical) and grandiose speeches are rampant when Promare kicks logic to the curb and goes beyond the impossible in its own unique way. What it lacks in a cohesive story, it makes up for in elaborate visuals, eye-popping action, and charismatic characters.
No matter how many times Spider-Man or Superman saves someone from a burning building, the real heroes are the firefighters; they are the ones on the ground, first on the scene. In the world of Promare, firefighters are not just stopping regular old fires; they are tasked with extinguishing supernatural infernos caused by the Burnish — humans mutated to become pyrokinetics. Called the Burning Rescue, they heroically save any and every civilian threatened by these eternal flames, doing so with advanced gear, amped-up water cannons, and hand to hand combat. In addition, they have high-tech equipment that includes drones, an armory of ice and water-powered firearms, and numerous models of mech suits.
These heroes are tasked to stop the flaming terrorists and the havoc they wreak, and in the first act of Promare, a Burning Rescue team led by a young man named Galo take on one of the most feared Burnish terrorists. They use their pyrokinesis to give themselves black, spiky armour and motorcycles that would make Ghost Rider jealous, and after a rousing success with eleventh-hour powers, Galo floats in his victory. Soon, the more militaristic, anti-Burnish organization called Freeze Force barges in and detains the Burnish, taking some of the credit and diminishing Burning Rescue’s efforts. This testosterone-driven act kindles a small spark in the back of Galo’s head, later pushing him to discover a conspiracy that suggests not all is as it appears to be.
Galo is essentially a carbon copy of Kamina from Gurren Lagann. He’s a shirtless, blue-haired, brash young man who jumps in head first to save everyone, and makes sure he looks cool doing it every time. His peers and rivals mock his intelligence and audacity, but in a rare twist, Galo immediately proves that his not simply all bark; he is also a talented rescuer, and is able to stop multiple Burnish solo. Eventually, he develops a rival with Lio, a blonde-haired, light-eyed, somewhat effeminate villain with his own code of honour. He also runs across Kray Foresight, the governor, who is appreciative of Burning Rescue and all their work. However, though Burning Rescue is comprised of many equally talented members, they are mostly pushed to the background outside of being given a few moments to shine.
Promare takes advantage of new animation styles, and combines both hand-drawn and computer-animated designs. The vapourwave art style is bombastic and chaotic, while the angular designs of the Burnish’s powers add a little edge to the action scenes, guaranteeing that there is no wasted space on screen. The movie runs from inferno-hot to sub-zero cold with no in-between; one would expect nothing less from Imaishi and Nakashima.
Walking into this film and expecting some kind of subtly, even when it comes to the most mundane of actions, is expecting far too much. In classic fashion, the filmmakers keep making every scene more grandiose and epic. Fight scenes aren’t simply adding an extra bad guy or giving the hero a handicap; everything grows to an exponential scale. The moment you expect that Promare has reached its limit, suddenly everything goes to the extreme. But this does has its disadvantages, as subtly and clear explanations of events go by the wayside. The plot moves fast and glosses over the details of the world, history, and lore. Instead of questioning “why is this weird thing happening,” it’s better to accept that it’s happening simply “just because” — far better to just watch the bonker visuals and series of events. This pacing also makes it difficult for character growth, where relationships are created and destroyed on a whim, yet could have benefited more with extra content. It’s like the difference between the Gurren Lagann series and the movies. Sure, the movies cover a lot of ground, but they are very much more loud, operatic spectacles rather than the growing confidence of a young shy boy into a full-fledged legend.
Promare is certainly a movie that stimulates the lizard-brain neurons. It’s flashy, over the top, and outright ridiculous. The heroes and villains are operatic, and there is no nuance stored anywhere in the character’s development. But that’s why the movie is wonderful; the creators are able to depict these extreme levels of silliness, then lampoon and expand on it. There are even moments where the characters themselves have to acknowledge that this level of weirdness is actually happening. But that’s why this movie is spectacular — it’s loud, it’s big, but it’s 100% unfiltered fun.
Editor’s Note: This article was originally published on August 4, 2019 as part of our Fantasia Film Festival coverage.
‘Freaks’ is a Superb Sci-Fi Thriller That Keeps You Guessing
Directing duo Zach Lipovsky and Adam B Stein have clearly taken inspiration from such films as Room and 10 Cloverfield Lane to craft a stunning, genre-bending, psychological sci-fi thriller about a young girl who discovers a new world beyond her front door. The film unravels inside of a ramshackle house where a bright seven-year-old named Chloë (Lexy Kolker) is held ‘prisoner’ by her overly protective and paranoid father Henry (Emile Hirsch). The house is boarded shut with several padded locks on the front door, and the windows are covered with thick blankets and newspaper clippings — enough to keep the sunshine out. Every exchange between the father and daughter is meant to pique our curiosity about the mystery of the world outside that bolted door; having trained Chloë to assume a new identity, Henry runs her through routine security drills, and repeatedly warns his daughter of the dangers of the outside world, as well as the people threatening to kill them. Everything we see, we see from Chloë’s perspective — which isn’t much, since the young girl has never left the premises.
Henry’s increasingly paranoid and arguably insane attempts to keep Chloë inside are the stuff of nightmares. The initial setup feels particularly alarming, because it focuses solely on the unhealthy relationship between the father and daughter, leaving us fearful for her safety. Tired of being locked up, Chloë decides she wants to go in search of the ice cream truck that often parks outside her home. When she eventually builds up the courage to defy her father and escape, she crosses paths with Mr. Snowcone (Bruce Dern), an ice cream vendor with a keen interest in the girl. He claims to know the truth about Chloë’s dad, and tries to convince her to run away with him. Regardless if the man is telling the truth or not, it doesn’t take long before it becomes apparent that things aren’t quite what they seem. By now, it is clear that Freaks is a thriller designed to keep your stomach in knots, your fingers clenched, and your heart racing. The question, however, is whether Chloë can trust her dad, or is the mysterious ice cream vendor the real threat?
Freaks opens with a simple scenario, but the hook here (and what keeps us watching) is that we never really know anything more than Chloë does. As mentioned above, Freaks is presented in her point of view, and thus Chloë acts as our eyes and ears — which doesn’t help matters, since she herself is too young to make sense of what is going on. Lipovsky and Stein have great fun teasing audiences, patiently revealing scraps of information such as the fleeting glimpses of TV news broadcasts playing in the background about drone strikes in Seattle, or the destruction of Dallas, Texas. Why does her dad sometimes bleed from his eyes? Who is Mr. Snowcone, and what does he want with her? There are so many questions to be asked, including who is the ghostly woman who sometimes appears in the attic (Amanda Crew), and what is her connection to Chloë?
What makes Freaks such a great mystery is that the writer-directors aren’t out to play coy with the audience. Instead, they patiently let us in on its secrets as the mysteries are slowly unraveled, in a series of increasingly intense and thrilling sequences. It really is impressive how much mileage they get out of simply not revealing too much too early. Needless to say, the less you know about Freaks going in, the better. The fun here has everything to do with how it continues to unfold into a series of surprises designed to keep viewers guessing right up to the final reel.
The less you know about Freaks going in, the better.
Freaks is also a movie that is shockingly well-made given its modest budget. It is directed by first-time feature helmers, and at times it feels like a calling card, as though the filmmakers are out to prove they can rival many big-budget blockbusters. Judging by their results, I certainly think they are more than capable of directing something on a large-scale, and I can’t wait to see what they do next. Using less than a handful of locations, a small cast, and some duly applied special effects, the filmmakers manage to create some explosive action scenes despite the film’s obvious technical limitations. In particular, the filmmakers use sound design to maximum effect when heightening the suspense, and with Timothy Wynn’s score helping them, they manage to pull off some very effective jump scares. Meanwhile, cinematographer Stirling Bancroft shoots the film completely from Chloe’s perspective, which in the first act feels incredibly claustrophobic and dreamlike — and in the third act, makes the world of Freaks seem too big for our young protagonist.
What is it really about?
*** Note: The following paragraph can be considered a spoiler. ***
Freaks is more than just a paranoia thriller. There’s a dash of X-Men and a large dose of Tim Kring’s Heroes. The challenge here involves transitioning an overly cryptic first act into an action-packed plot involving super-powered outcasts who are hunted by the military and forced to hide from the rest of humanity. Yes, Freaks is another superhero origin story, but judging by the plot synopsis, the trailer, the poster, or any of the other form of marketing, you would be forgiven for not knowing these details. By the time those superheroic moments come, we are invested in the characters, and no matter how familiar its tropes are, Freaks never ceases to be thoroughly engaging. It helps that Zach Lipovsky and Adam B Stein show a good understanding of how children think and behave, keeping our young heroine believable while gradually filling in the blanks as to what’s happening in the world around her.
Freaks is a superhero movie that is grounded in reality. Yes, characters can control minds, freeze time, teleport, turn invisible, and fly, but their abilities are mainly kept in the background, allowing the family drama to take center stage. The story unfolds in ways that make its characters seem much more ‘human’ despite their special abilities. And like X-Men or Heroes, Freaks is upfront about its thematic focus on diversity, discrimination, and persecution. It taps into current paranoia about immigrants, people of color, and various minorities (under the guise of the mutant ‘abnormals’ or ‘freaks’) who have become victims and targets across the United States. It certainly isn’t overtly political, but the metaphor is there nonetheless.
Beyond the sci-fi and horror, Freaks is really a movie about coming of age. Lexy Kolker (best known as young Robin in Agents Of S.H.I.E.L.D.) is a natural performer, easily holding her own against the older actors. Her performance couldn’t be any more authentic, and despite being surrounded by an experienced cast, she pretty much carries the weight of the film on her tiny shoulders.
Freaks is a superb thriller that breathes new life into the genre and makes the most of its confined setting, modest budget, and an outstanding cast. The first half is rewardingly claustrophobic, keeping its focus tight on the characters and keeping secrets locked down, all while teasing at whatever disasters may loom outside. The second half is touching, action-packed, and spectacular. Sometimes messy but mostly effective, Freaks gives most Marvel movies a run for their money.
– Ricky D
Editor’s Note: This review was originally published on July 29, 2019, as part of our coverage of the Fantasia Film Festival.
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