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TIFF Review: ‘The Wind’ Howls as an Atmospheric, Sinister Horror-Western

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the wind review TIFF

Directed by Emma Tammi, The Wind is a grim, atmospheric study of a desolate environment that hides a dark secret.

The script was developed from true first-hand accounts of frontier women who settled in the prairies and were driven mad by the unrelenting howl of the wind. Written by Teresa Sutherland, the plot explores this madness through a dark supernatural influence as the characters panic about what evils could be moving through the dark nights.

Set in the 1800s, the story is told in a non-linear structure, meaning that the viewer jumps through the timeline to understand how the story unfolds, giving depth and significance to each character’s emotional state.

via IMDb

We follow Lizzy (Caitlin Gerard, Insidious: The Last Key), a young woman who is thrilled to see new “neighbours” move in to a nearby cabin. Across the vast field, their home is visible as just a flicker of light through the dark of night. Lizzy and her husband do their best to make the new couple feel welcome, but the new resident’s young wife, Emma (Julia Goldani Telles, Slender Man), struggles to adjust from her previous life in the city. The longer they stay, the stranger Emma’s actions become as she is convinced that an evil entity is after her. When Lizzy’s husband must leave home for a several-day-on-horseback journey, she starts to question her own comfort and safety in this oppressive isolation.

The film revels in its atmosphere – a bleak, hopeless tundra with no help in sight. Lizzy is our guide and unreliable narrator through the story. We stick to her side through the whole film, moving through the daily motions of necessary chores and feeling her terror as she faces each night alone.

Written, directed, edited, and designed by women, the relevance of lines of dialogue like “Don’t be unpleasant in front of the men” are not lost on the audience. This idea of the “hysterical woman” is communicated with an appropriate weight.

via TIFF

For a film that focuses on the madness supposedly caused by an unyielding wind, the sound design is obviously extremely important. The Wind utilizes silence in a way that pushes the plot forward, and it’s stunning. The opening sequence is completely silent – save for the constant howling of the wind – and it immediately sets a taut, unsettling tone.

Despite the limited dialogue, we gain a complete understanding of each character. In true pioneer fashion, it’s an economical script that doesn’t mince words. Every line of communication is direct and to-the-point.

The silence of the film envelops Lizzy and builds a deafening claustrophobia, where every spare inch is filled by that constant wind. It’s so powerful that in the extremely rare occurrences where the wind is not present, it’s a bit of a shock to the senses.

A driving score was composed for the film by Ben Lovett (The Ritual) using period instruments like the nyckelharpa to produce an earthly, haunting sound that plays on a base instinct we’ve long since forgotten.

Because of the tension that’s tightly coiled by the sound design, any sudden releases are sincerely frightening. There were a few moments in the TIFF screening where the whole audience physically jumped (a genuine response that I haven’t witnessed in a long time).

via TIFF

The Wind places the focus on the experiences of women in a period when their stories aren’t often told. Westerns typically focus on a glorified version of a man’s work, promptly ignoring the struggles that went into the development of land and maintenance of a household. It acts as a humbling look at the lifestyle and dangers of pioneer life in the prairies, and the fears that ran wild in such an unrestrained environment.

The non-linear storytelling can be a bit clunky at times, but it’s a necessary function in revealing the full story. Overall, The Wind is a quiet, twisting, thrilling horror-western that settles under your skin and prickles your senses.

 

The Wind will be playing next as part of Fantastic Fest’s 2018 lineup.

via IMDb

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The Original ‘Beetlejuice’ Sequel Had an Interesting Location

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beetlejuice in Hawaii Movie

Back in the late ’80s and early ’90s sequels to hit movies weren’t as linear as they are today. It was more like “let’s re-do the situation but in a different location.” Remember Speed 2, or National Lampoon’s European Vacation? Even Aliens, as good as it is, follows a lot of the plot points of the original; people stuck on a ship, an android, a little girl in peril instead of a cat. So it makes sense that one of the most popular supernatural comedies of all time, Beetlejuice would follow the same pattern.

In 1991 Tim Burton was interested in doing a sequel to his 1988 original, it was called Beetlejuice Goes Hawaiian:

“The Deetz family moves to Hawaii to develop a resort. Construction begins, and it’s quickly discovered that the hotel will be sitting on top of an ancient burial ground. Beetlejuice comes in to save the day.”

Burton liked the script but wanted some re-writes so he asked then-hot screenwriter Daniel Waters who had just got done contributing to Heathers. He passed on the opportunity so producer David Geffen offered it to Troop Beverly Hills scribe Pamela Norris to no avail.

Eventually, Warner Bros. asked Kevin Smith to punch up Beetlejuice Goes Hawaiian, he scoffed at the idea, saying, “Didn’t we say all we needed to say in the first Beetlejuice? Must we go tropical?”

Nine years later the sequel was killed. The studio said Winona Ryder was now too old for the part and an entire re-cast needed to happen. But Burton never gave up, there were a lot of directions he wanted to take his characters, including a Disney crossover.

“We talked about lots of different things,” the director said in Entertainment Weekly. “That was early on when we were going, Beetlejuice and the Haunted MansionBeetlejuice Goes West, whatever. Lots of things came up.”

Fast-forward to 2011 when another script was pitched for a sequel. This time the writer of Burton’s Dark Shadows,  Seth Grahame-Smith was hired and he wanted to make sure the story wasn’t a cash-grabbing remake or reboot. Four years later, in 2015, a script was approved with both Ryder and Keaton saying they would return to their respective roles. In 2017 that script was revamped and then eventually shelved in 2019.

During the time the sequel script was being tossed around in Hollywood, in 2016 an artist named Alex Murillo posted what looked like one-sheets for a Beetlejuice sequel. Although they were fabricated and had no affiliation with Warner Bros. people thought they were real.

Perhaps the virality of the artwork sparked interest in a Beetlejuice sequel once again, and finally, it was confirmed in 2022 Beetlejuice 2 had a green light from a script written by Wednesday writers  Alfred Gough and Miles Millar. The star of that series Jenna Ortega signed on to the new movie with filming starting in 2023. It was also confirmed that Danny Elfman would return to do the score.

Burton and Keaton agreed that the new film titled Beetlejuice, Beetlejuice wouldn’t rely on CGI or other other forms of technology. They wanted the film to feel “handmade.” The film wrapped in November 2023.

It’s been over three decades to come up with a sequel to Beetlejuice. Hopefully, since they said aloha to Beetlejuice Goes Hawaiian there has been enough time and creativity to ensure Beetlejuice, Beetlejuice will not only honor the characters, but fans of the original.

Beetlejuice, Beetlejuice will open theatrically on September 6.

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Russell Crowe To Star in Another Exorcism Movie & It’s Not a Sequel

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Maybe it’s because The Exorcist just celebrated its 50th-anniversary last year, or maybe it’s because aging Academy Award-winning actors aren’t too proud to take on obscure roles, but Russell Crowe is visiting the Devil once again in yet another possession film. And it’s not related to his last one, The Pope’s Exorcist.

According to Collider, the film titled The Exorcism was originally going to be released under the name The Georgetown Project. Rights for its North American release were once in the hands of Miramax but then went to Vertical Entertainment. It will release on June 7 in theaters then head over to Shudder for subscribers.

Crowe will also star in this year’s upcoming Kraven the Hunter which is set to drop in theaters on August 30.

As for The Exorcism, Collider provides us with what it’s about:

“The film centers around actor Anthony Miller (Crowe), whose troubles come to the forefront as he shoots a supernatural horror movie. His estranged daughter (Ryan Simpkins) has to figure out whether he’s lapsing into his past addictions, or if something even more horrific is occurring. “

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New F-Bomb Laden ‘Deadpool & Wolverine’ Trailer: Bloody Buddy Movie

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Deadpool & Wolverine might be the buddy movie of the decade. The two heterodox superheroes are back in the latest trailer for the summer blockbuster, this time with more f-bombs than a gangster film.

‘Deadpool & Wolverine’ Movie Trailer

This time the focus is on Wolverine played by Hugh Jackman. The adamantium-infused X-Man is having a bit of a pity party when Deadpool (Ryan Reynolds) arrives on the scene who then tries to convince him to team up for selfish reasons. The result is a profanity-filled trailer with a Strange surprise at the end.

Deadpool & Wolverine is one of the most anticipated movies of the year. It comes out on July 26. Here is the latest trailer, and we suggest if you are at work and your space isn’t private, you might want to put in headphones.

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