He goes beyond putty to pouty when he puts on his tiara and plays around with his necklaces: "Hello pearl, meet ruby." He makes an identity out of insinuation.
BURN GORMAN CREEPY TV
On the one hand, there is old-style TV stardom in the putty-like presence of Rowan Atkinson. What has already made it a commercial success - the advance ticket sales were a record-breaking £15m - is, of course, telly.
BURN GORMAN CREEPY SERIES
He has the same choreographer, Matthew Bourne, who bowls the evening along with a rolling, stage-enveloping series of thumb-in-jacket, elbows-out set pieces.īourne, who also co-directs, gives the show considerable yeast.
He has the same designer, Anthony Ward, who supplies pretty pop-up London skyscapes and lots of brown interiors. He has worked with some of the Mendes team. But his effect has been curtailed as his brief was limited: his task was not to re-create Oliver! but to re-stage Sam Mendes's 1994 production. Rupert Goold, a director of radical flair, who has brushed a lot of dust off elderly pieces, might seem a strong choice for reinventing Lionel Bart's hit 1960 musical.
No more cardboard domes of St Paul's seen through fog. No more cheekiness and chirp and poke bonnets and big bellies. No more of a woman proving she's got a good heart by being bashed to death. No more swarms of teeny orphans banging their spoons on their porringers. Okuno has made a film that puts its, sadly, highly topical story (about ignoring women when they say men are dangerous) ahead of broad entertainment value, and that’s for the better.Please, sir, I don't want more. But while perhaps a few more corpses and a bit more on-screen danger might have made “Watcher” more intense, it would be counterproductive to luxuriate in cinematic violence in a film that’s all about why it’s wrong not to take stalking and violence seriously.
BURN GORMAN CREEPY SERIAL
“Watcher” only cements that standing.Īs a story, “Watcher” comes across like an early giallo thriller without the visual dynamism that usually comes part-and-parcel with those tales of young heroes investigating serial killers in Europe. Frightened enough to bolster suspense yet capable enough to make us think she might survive this ordeal, Julia is a singular creation, and Monroe is one of the best horror actors of her generation. Thank goodness it has Maika Monroe, the star of exceptional horror thrillers like “It Follows” and “Villains,” who always looks like she’s puzzling out something in the back of her mind and invites us to wonder at the film’s enigmas along with her. If “Watcher” was ever going to work as a film it needed a star who could captivate the screen all by their lonesome. ‘Villains’ Film Review: Small-Time Crooks Meet Very Bad People in Charmingly Eccentric Horror Comedy Also, a heck of a lot of time to pay close attention to that man following her to the market, and to watch news reports about a serial killer in the neighborhood, and to wonder why her husband isn’t taking her seriously when she insists there’s a connection between her possible stalker (Burn Gorman, “The Offer”) and the brutal decapitation of local women who are a heck of a lot like her. With nothing to do, nowhere to go, and no one to talk to except her one sociable neighbor Irina (Madalina Anea, “The Protégé”), who’s only around a few hours of the day, Julia has a heck of a lot of time to think.
She spends quite a bit of time staring out at another apartment complex, and into a window where - it sure looks like - a mysterious man is staring right back, every night, and maybe even every day, although it’s harder to tell when it’s bright out. They move into an impressively gigantic apartment, not so much in floor space as it is in discomfiting height, which makes her look small against the backdrop of her expansive windows. Sundance Horror Film ‘Watcher’ Acquired By IFC Midnight, Shudder
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