It was made in that aftermath, four years later. Typically, walking out of a movie angry isn’t a good sign. 60% will go on to become multiple offenders... Three young offenders - Butch, Angel and Davis - arrive at Enola Vale, Montana juvenile correctional center and are placed under the authority of Goodyear, an experienced, strict yet empathetic guard. Dog Pound (2010): Dir: Kim Chapiron / Cast: Adam Butcher, Shane Kippel, Mateo Morales, Lawrence Bayne, Slim Twig: Disturbing drama about human imprisonment, or in this case, juvenile prison. But they’re united by their fearlessness in breaking down boundaries and thrusting us into worlds beyond our own. You start to really feel for the characters and their issues also everything during the movie goes along smoothly. A mean prison thriller that goes for the jugular throughout, the Canadian film DOG POUND is in actual fact a remake of the British borstal classic SCUM from 1979. Soon after, all that remains of humanity are the passengers of an ultra-equipped, self-sustaining train that suggests Noah’s Arc as a speeding elevated bullet. © IFFR. Ryland Walker Knight, Brandon Cronenberg’s Possessor is obsessed with tensions between mind and body, and old and new technologies. Southland Tales was received in a very disruptive, polarizing way at Cannes. One of the most jarring, and poignant, moments in Feast takes the shape of a traditional documentary sequence that teases out the poetic and life-affirming dimension of viruses. Butch has anger issues and fights back. Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics. The film, based on true events that rocked Holland in 2005, is a welcome reminder that the boundaries between wanting and not wanting are often unclear, that sexual desire’s tacit agreements are generally bound to be misunderstood by systems built on a logic of rationality. Dog Pound to Scum is like alligator to crocodile. That’s a challenge, but you also have the gift of the footage that exists that we captured in 2005 as a companion, guide, and style rubric. This was my own first time at Dogpound too, and I had the same feeling. Awards At the same time, the genre manages to find fresh and powerful metaphors for where we’re at as a society and how we endure fractious, fearful times. Southland Tales is very much a post-9/11 piece of art that’s a product of that aftermath. Cut 25 minutes from CODA and it could almost be any other film about teenagers looking to distinguish themselves from their parents, with caricatures of well-meaning adults and friends. Otherwise, their budding romance is suggested in brief visions of laughing and dancing. Ballard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness. Dog Pound is just one in a long line of prison flicks that owes a debt to the fierce political savvy of Alan Clarke Danny Leigh Fri 13 Aug 2010 10.01 EDT First published on … 1922 informs Stephen King’s pulp feminism with primordial, biblically ugly force. Fritz Lang’s Metropolis, a visionary depiction of a near-future dystopia, is almost impossible to imagine as a work of prose fiction. Definitely this movie is not a waste of time. We hadn’t even gotten to that point yet, the light was pretty far down at the end of that tunnel at that point. Covers predictable ground with admirable sincerity and is notable for some eye-catching performances, not least that of Adam Butcher as an angry young man. It’s sort of like two companion films that are both unfinished. The filmmaker suggests that casual hostility within the family unit is the real normal, buried underneath an ornate series of social pretenses. Adam Wingard leans real heavy on 1980s—or 1980s-sounding—music in the grandly, outwardly wounded key of Joy Division, and he accompanies the music with visual sequences that sometimes appear to stop in their tracks for the sake of absorbing the soundtrack. Jump cuts carry us across decades, moving between characters, discovering tragedies across generations. To be a novelist requires a great deal of patience and commitment. You’ve also got something like Steve McQueen’s Small Axe anthology of five films with five separate storylines. Rob Humanick. The film, as she encounters an assortment of colorful characters, suggests its floating in and out of dreams. The overly psychologized moments of contemplation and the too-brief depiction of the hardships of being alone in the woods may leave you feeling as if the film is doing all the thinking for you, and after a while, it’s hard to repress the thought that, for someone like Edee, the battle with the earth is little more than a lifestyle choice. And some of our favorites are currently streaming on Netflix. It soon transpires that the caller in question is Laura Barnes, a former friend of Blaire’s who committed suicide after an embarrassing video went viral, apparently back from the grave to take digital revenge. The man, who presumably didn’t want to be filmed, is never seen, and so we hear the argument between the father and daughter over static, claustrophobic images of their room. Some interesting parallels are drawn between the objectification of females and the proclivity for violence. It’s always really important for me to keep looking back. The film is most notable for its evolving visual concept: Each car takes one closer to a representation of the world as it presently works. This is a remarkably empathetic achievement, but older viewers may find themselves, after a flush of recognition, feeling starved for substance. And the carnage, when it arrives, is staged with an aura of guttural bitterness that refuses to give gore-hounds their jollies, elaborating, instead, on the desolation of the characters committing the acts. Dog Pound locks you in, throws away the keys, then squeezes until bones crack, It's Perhaps A Bad Idea To Remake Classic Brit Films But This Isn't Too Bad. Bol (Sope Dirisu) is desperate to fit in, ensuring the immigration bureau that he and his family are good people and telling his wife that, in their new surroundings, they’re “born again.” But his wife, Rial (Wunmi Mosaku), doesn’t share his eagerness, as her experiences in England have been almost entirely unpleasant, from the indifference and condescension of their smarmy, burnt-out case worker, Mark (Matt Smith), to the outright xenophobic, such as when three black neighborhood kids mock her and tell her to go back to Africa. Dog Pound Ending. The result is a staggering thing—that rare breed of horror film to invent a gimmick and perfect it all at once. Boys Fighting/Wrestling or in Battle Quests, Dallas Ryan's 47 Foreign Films You Have To See Before You Die. Growing up, part of me always wanted to be either a novelist, a political cartoonist, or an architect. Butcher soon retaliates when he decides not to discuss his abuse. At the end of the movie I felt very empty because I was hoping for a different ending but I see the ending as a sort of Martyrdom for my favorite character, Butch. And I think even when we brought the film to Cannes, people were exhausted and angry. Given its twilit suburban adventures and encroaching security forces, the story exudes a superficially classical sensibility, recalling Starman and Close Encounters of the Third Kind. It also avoids most of the usual sci-fi clichés, with a suburban mad scientist who’s part man child, part Morel, using his invention as a means to heal adolescent scars. Rent $4.99 Buy $13.99 Chuck Bowen, The plot convolutions of Elizabeth Harvest conjoin with director Sebastian Gutierrez’s stylistic bravura—blasts of red and blue in Cale Finot’s cinematography that connote a spiritual as well as physical sense of ultraviolence—to create an incestuous atmosphere that’s reminiscent of the stories of Edgar Allan Poe. 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