Tag Archives: SciFiNow

‘I See You’: Someone’s watching me

I See You is a puzzle movie where revealing the exact horror sub-genres it sticks with to the end, or even to its halfway point, constitutes as a spoiler. Penned by American actor-turned-writer Devon Graye (Dexter, The Flash), directed by Brit Adam Randall (who helmed Netflix Original sci-fi iBoy) and starring Helen Hunt and Jon Tenney, the Ohio-filmed movie benefits from knowing as little as possible, beyond the basic premise that concerns a series of abductions in a small town coinciding with the apparent haunting of a family’s home.

That said, there’s still plenty to discuss without giving the game away. Speaking to SciFiNow at last summer’s Edinburgh International Film Festival, Adam Randall (carefully) told us about his film…

Full interview for SciFiNow

The Other Lamb (Malgorzata Szumowska, 2019)

It’s not always fair to review a film based on what it isn’t. But that inclination grows when the work itself teases a divergent narrative route of interest, only for the ultimate focus to send that plot thread away for a story altogether more conventional for the territory it explores. Such is the case with The Other Lamb, the English-language debut of Polish director Malgorzata Szumowska…

Full review for SciFiNow

Promare (Hiroyuki Imaishi, 2019)

The opening of Promare establishes that the sudden combustion of various people across the globe caused severe damage to the world. This was the first appearance of the Burnish, a race of hitherto unknown mutant beings with the ability to wield flames.

Thirty years later, a firefighting mecha service, Burning Rescue, has been created to put a stop to similar catastrophes. The arrival of a new group of aggressive mutants known as ‘Mad Burnish’ sets up a conflict between its leader, Lio Fotia, and over-eager firefighter Galo Thymos, but all is not as it seems and the fate of the planet is at stake…

Full review for SciFiNow

I Lost My Body (Jérémy Clapin, 2019)

Adapted from a novel penned by co-screenwriter Guillaume Laurant (Amélie), I Lost My Body is the feature debut of Jérémy Clapin, a man known for directing animated shorts with odd premises. One example of this is Skhizein (2008), in which a person who has been struck by a 150-ton meteorite has to adjust to living exactly 91 centimetres from himself.

I Lost My Body is also concerned with displacement in various ways. From the title, one might expect a story in the vein of David Lowery’s A Ghost Story (2017), with a phantasm dealing with (after)life after death. But while I Lost My Body has a similar melancholy tone, this curious blend of 2D and 3D animation techniques in fact focuses on a still very alive human and his also very alive dismembered hand…

Full review for SciFiNow

The Prince’s Voyage (Jean-François Laguionie/Xavier Picard, 2019)

In 1999, Jean-François Laguionie, a French animator with directing credits dating back to 1965, made his third feature, Le Château Des Singes (The Castle Of Monkeys). It followed a rebellious teenage simian discovering an ostensibly more civilised society of simians, only to get caught up in a plot to murder a king. In the UK in 2000, the film was released as A Monkey’s Tale. The screenplay was considerably reworked in the translation to English, Rik Mayall played a comic relief villain, and the marketing campaign heavily promoted a soundtrack song by Westlife. It’s basically the epitome of a dawn of the millennium bastardisation of a foreign animation.

What does any of this have to do with Laguionie’s charming new film, The Prince’s Voyage, co-directed with Xavier Picard? Well, although it is not an explicit continuation, the new film sees Laguionie explore new ideas and stories within what seems to be the same universe. The lead of this film shares the design and royal lineage of a supporting character from A Monkey’s Tale, and that previous film’s lead character is alluded to in a flashback. But The Prince’s Voyage requires absolutely no knowledge of A Monkey’s Tale to follow its story – a relief to many…

Full review for SciFiNow

We Have Always Lived in the Castle (Stacie Passon, 2018)

Stacie Passon’s We Have Always Lived In The Castle premiered on the festival circuit before the Netflix launch of Mike Flanagan’s series based on Shirley Jackson’s The Haunting of Hill House, but it’s certainly set to benefit from a resurgence of interest in adapting Jackson’s fiction for the screen. A feature-length take on Jackson’s short story, The Lottery, is also in development…

Full review for SciFiNow

I See You (Adam Randall, 2019)

Written by Devon Graye and directed by Adam Randall, I See You flirts with multiple genres across its runtime, keeping viewers guessing as to the exact nature of what they’re watching. Wildly different modes of horror and thriller storytelling are presented across the film. The protagonist(s) you think you’re following may not retain that status for the whole thing.

To compare it to other notable horror hits of late may provide an accurate sense of the film’s tone or plot, but that would only apply to a certain section of the story or the mood for just part of the film, rather than a precise picture of the whole. That said, ‘Hereditary meets Don’t Breathe’, with shades of Scott Derrickson’s forays into detective-led horror, wouldn’t be a terribly erroneous description…

Full review for SciFiNow

The Furies (Tony D’Aquino, 2019)

The Furies is a curious mix of slashers, The Running Man and Predators. Kayla (Airlie Dodds) is kidnapped, waking up in a coffin-like box in the Australian wilderness. Meeting a few other young women who barely know more about their mysterious circumstances, Kayla tries to both locate her fellow kidnapped friend and evade the grotesque masked maniacs hunting them. An epilepsy-sufferer, Kayla has fits that reveal that the women’s armed pursuers may be tracking their movements through implanted cameras. And they may not be the only ones watching this most dangerous game…

Full review for SciFiNow

Pokémon Detective Pikachu (Rob Letterman, 2019)

With his background in CG animation, Goosebumps director Rob Letterman makes sense as a choice to helm the live-action translation of one of the 90s’ most enduring media properties. The best parts of this adaptation of the Pokémon games, based on 2016 spin-off Detective Pikachu, are the textures of its reimagined designs of beloved creatures from the series, which vary from cute to unsettling. If you don’t yet know what a Lickitung is, you might not forget after this.

Then again, maybe you will, because when it comes to making a story to engage a wider mass audience beyond the admittedly large established fanbase, the filmmakers don’t seem to have been that concerned with catching ‘em all…

Full review for SciFiNow