Jasmim Talks Cinema

This isn’t a simple children’s holiday film, it’s a film that is made for adults and it helps us tap into our inner children through a story that is at its heart about grief and maturing, while still cherishing one’s childishness. Norcross’s performance also didn’t really make a big impact on me either, feeling strange and hindering a bit the scenes, although she also holds a certain loveliness that works for her character. Truly, romance doesn’t seem to be Matthew Reynolds’s forte, although he does a commendable effort to depict it. And, despite this flaw, I found that it holds sweetness and heart that one can’t help but love, that is beautifully constructed by these young filmmakers that still show their talent through this delightful tale that ends in a delicious note that truly reminds us of the purpose deep in the Christmas spirit.

They are the three faces of Modern American Horror, as in my opinion they are the most innovative American horror directors of our time, and I will explore what are the themes that each director explores in their films and how they reflect modern anxieties, in a more or less general way. They are the three faces of Modern American Horror, as in my opinion they are the most innovative American horror directors of our time, and I will explore what are the themes that each director explores in their films and how they reflect modern anxieties, in a more or less general way. This isolation in itself creates new anxieties in American society, a fear of a societal descent into madness, and it’s precisely that that Robert Eggers’s films reflect – isolated people, fearful of the unknown, slowly descending into madness. This isolation in itself creates new anxieties in American society, a fear of a societal descent into madness, and it’s precisely that that Robert Eggers’s films reflect – isolated people, fearful of the unknown, slowly descending into madness.

She had a connection with Sophie, but when she leaves her, Frances feels as if she has lost that connection and she tries to reconnect with someone who would be a surrogate of Sophie. Later in a dinner with friends of Rachel, she tries to make the meandering dialogue that she did with Sophie but with the people in the dinner, who don’t really understand her and act as if she is just some strange funny girl. In a way this whole episode is representative of Frances’s search for a connection, a search for someone who will understand her for what she is and wants, the way that Sophie understood her. When Sophie reveals that to her, she realizes that she isn’t the only immature person legging life as she goes through it, everyone does so, even if they seem as if their lives are perfect, stable and moving forward.

Matthew Reynolds truly shows his directorial capacity in this corrosive crime comedy that has all the right amount of quirkiness and over-the-topness to make a perfect storm of entertainment and witty commentary that will leave you out of breath from laughter, all brilliantly condensed into a 40-minute short. After spending 10 years in jail, Sergeant Ian Lynch finds that the world has changed a lot - new technology, Brexit, Climate Change, rampant corruption - and he finds that his house has been "legally" purchased by railway tycoon Mickey Shark. Reynolds truly dominates his medium and perfectly crafts a story that is as absurdly Tarantino-esque as it is surrealistically Lynchian, with a sprinkle of a caustic wit, all mixed together into a gloriously entertaining soup of nonsensical humour and unique visuals with a clear voice of his very own. The humour in Shopping Bag 2 is effortlessly achieved, making it one of the purest comedies I have seen, with hilarious overlong fight scenes that you won't be able to hold yourself together while watching and many other incredible moments of comedy.