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The Greatest Showman and his Misfits

The Greatest Showman as presented by Hugh Jackman is the perfect antidote to January. Based on the life of P.T Barnum and his traveling circus, fizzling with colour, musical numbers that really only Hugh Jackman can deliver in his razzmatazz style and passion. We meet Barnum, orphaned at a young age rise above his adverse poverty to marry his childhood sweetheart and establish his circus company become very wealthy and rise up in society well to an extent. Despite his success, he isn’t fully accepted into the higher echelons of New York society and so his inner shortcoming is the desire to be seen as respectable and not just a well-oiled machine exploiting the “Freaks” that he has gathered and puts on display. Although of course, the Hollywood twist on this circus is opportunity and equality for all, unlikely to be the case in real life, but nevertheless a worthy…

Guillermo’s Latest Monster in “The Shape of Water”

“Monsters are evangelical creatures for me. When I was a kid, monsters made me feel that I could fit somewhere, even if it was… an imaginary place where the grotesque and the abnormal were celebrated and accepted.” – Guillermo Del Toro. We enter the boring and mundane existence of Elisa (Hawkins) a voiceless orphan who communicates through sign language and is scraping together a living working as a cleaner in a top-secret government laboratory, where a range of dubious experiments are run. Elisa continues with her day to day routine until a suspicious delivery arrives and is housed in the chamber that she is responsible for cleaning.  The “delivery” is an unusual sea monster being studied by the FBI that Elisa fall’s in love with.  The film’s message of a  mute woman who falls for a captured sea monster is a tribute to outsiders of all kinds — a message that…

The Social Horror Genre – Get Out

“Get Out” is a paranoid thriller that like the best conspiracy thrillers,  disturbs the audience with its expert use of unsettling images and situations throughout that fill you with horror. The film starts out like a classic comedy-drama, in the vain of Guess Who’s Coming to Dinner, in which a young African-American man meets his Caucasian girlfriend’s parents for the first time. But the boyfriend, Chris, notices something strange about all the black people he encounters in the idyllic community and learns of the more sinister designs the family have in mind for him. Financed by Blumhouse, it was exactly the kind of off-beat, a zeitgeist-hitting film that could be spun into a horror hit—provided it could be made cheaply. The company keeps budgets low by offering deferred payments, hence taking bigger creative gambles with stories that may never get made as Jorden Peel identifies himself. “You want to hear a cool story? The…