Here’s a quick rundown of the movies we’re most excited about that are screening in New Orleans this week, including a few late-to-the-table horror releases to soothe your post-Spooktober hangover.
Movies We Haven’t Seen (Yet)
Overlord – The trailer for this post-Halloween Season horror oddity is a wild ride for me. It starts off masquerading as a WWII thriller I’d had have zero interest in, but halfway through transforms into a Wolfenstein-styled creature feature I feel compelled to see ASAP out of pure curiosity. What kind of mutant monstrosities are the Nazis cooking up in this Major Studio-funded schlock? I’m dying to find out.
The Maltese Falcon (1941) – This San Francisco-set, Humphrey Bogart & Mary Astor-starring classic has a staggering reputation: it’s the debut feature from legendary Hollywood director John Huston; it’s widely credited as the first major film noir; and its titular bird is frequently cited as one of the most defining examples of a MacGuffin. If, like me, you’re an uncultured swine who’s never seen it before, there’s no better way to experience it for the first time than on the big screen. Playing Sunday 11/11 & Wednesday 11/14 as part of Prytania’s Classic Movies series.
Can You Ever Forgive Me? – An Oscar Season actor’s showcase for a once-goofy-now-serious comedian in a tonally muted biopic would normally not be something I’d rush out to see. The talent on-hand here is too substantial to ignore, however, as the comedian in question is the consistently-compelling Melissa McCarthy and the director behind her is Marielle Heller, whose previous feature The Diary of a Teenage Girl might just be one of the best dramas of the decade. My genre-bias is showing in my struggle to stir up enthusiasm for this one; all signs point to it being a total stunner.
Movies We Already Enjoyed
Suspiria (2018) – Luca Guadagnino’s remake of the eponymous cult horror-classic may deviate from its source material in tone & aesthetic, but it did zero in on the most vital aspect of Dario Argento’s work (and giallo in general): excess. Everything about the new Suspiria is ludicrously excessive, fully committing to every self-indulgent impulse it can muster in its sprawling tale of a doomed dance academy run by a coven of witches in post-war Germany. Not every indulgence works, and the exercise can be laughably pretentious as a whole, but it’s so admirably audacious that it demands to be seen. Only screening at The Broad Theater.
Halloween (2018) –This David Gordon Green-directed, Danny McBride-cowritten, Blumhouse-produced soft-reboot of the eponymous John Carpenter 1978 proto-slasher has to satisfy two entirely different audiences: people who want to know what Original Final Girl Laurie Strode is up to 40 years later and first-weekend horror audiences who just want to see some interesting slasher kills. I believe it did a great job of satisfying both sides of that binary in two separate tracks, then converging them in a thoughtful way that has a lot to say about Fate, senseless violence, and the obsessive thought-loops of trauma recovery.
Venom – A C-grade superhero movie that treads water for at least a half-hour, then mutates into an A+ slapstick body-horror comedy with an outright Nic Cagian lead performance from Tom Hardy. Venom is a less satirically pointed, big-budget version of Upgrade or a modernized Henenlotter, but its highs are also much funnier (and surprisingly queerer) than either of those reference points. It’s a lot of fun if you maintain your patience through the first act.