After more than 100 years of existence, Frankenstein's monster (Christian Bale) is struggling with loneliness. So he heads to Chicago to see Doctor Euphronius (Annette Bening), who he asks to make him a companion. They select a murdered woman (Jessie Buckley), and after bringing her back to life, the reanimated pair go on a manic adventure together. One that sparks a police manhunt, and something of a social revolution. Maggie Gyllenhaal's bold re-imagining of The Bride of Frankenstein is a little bit messy. A mishmash of genres and styles, in much the same way that Frankenstein's monster was once assembled. It stands to reason, however, that at least some of this messiness is intentional. And while some of it doesn't work, the parts that do are at the very least, rather good. The look of the film, for instance, is incredible. Stunning, even. It's all very 1930's, but met with some deliciously garish and gritty punk stylings. As well as a beautiful shock of ble...
Several years after Dan (Daniel Griesheimer)'s tragic death in a car accident, his father Harry (Timothy J. Cox) reconnects with Dan’s wife Abby (Ashlee Lawhorn) in order to celebrate Dan’s life and reconcile their loss. Let Dan Go opens outside a bar, where a desperate and frustrated woman pleads with her intoxicated husband to give up his car keys and come home with her. It is undoubtedly a familiar scene for far too many, and one that ends all too predictably. But despite a brutally honest approach to such a sensitive subject, director Arielle Carroll is also respectful of those that have suffered such a loss. Never going too far in her portrayal of the event that drives this short film. After this intense and traumatic opening, we encounter Harry, sitting on a park bench, where he's soon joined by his daughter-in-law, Abby. It has been some time since that tragic night, but the pain is still fresh. On the face of it, this a catch-up. Two people who haven't seen each o...