![]() It’s a shame because conceptually there is a lot of appeal in Slice’s setup. This isn’t because when it’s over you wish there was more, but that the film is so muddled in its narrative threads that you’re sure it was cancelled before more talent could be wasted. Slice (2018)Īustin Vesely’s Slice plays like the pilot of a potential television series. It’s a bizarre and repellent narrative, and can’t even be saved by Johnny Depp’s admittedly amusing French-Canadian accent and Peter Sellers-eque transformation as a late arriving police detective. The subsequent makeup effects are grotesque, but the movie stumbles over their reveals like a standup comedian who’s forgotten the punchlines. ![]() Ever the scenery-chewer, Parks gives more gravitas to the material than it deserves as a shut-in obsessed with recreating from a human subject the walrus which saved his life one snowy night following a shipwreck. Justin Long makes an appropriately smarmy podcaster named Wallace Bryton who’s travelled to Canada to find oddballs to interview and mock, but gets more than he bargained for when he winds up in the home of Howard Howe (Michael Parks). Originally constructed as a joke on Smith’s Smodcast podcast, the finished film is every bit as listless and rambling as a weed-fueled diatribe. I wish I could say the results were better than Tusk, yet this dispiriting attempt at body horror might be the high-point of his latter day monster movies. A defining voice in comedy and indie filmmaking during the ‘90s, Kevin Smith drifted away from studios by the beginning of the 2010s in favor of trying his hand at horror. We begin our countdown with the rare A24 horror movie that comes not from a new perspective, but an old, one-time favorite. Below is our staff’s definitive ranking of A24 horror movies circa October 2022. But for the last decade, teh studio’s been the most consistent in pushing that sensibility back into the mainstream, releasing some of the most compelling and challenging horror flicks in recent memory-as well as perhaps a handful of interesting failures. Indeed, both A24’s worst admirers and loudest critics call their chillers “elevated horror,” but that’s a dubious term with even shakier precedent.Ī24 is not the first production company or studio to curate ambitious horrors that rely more on character, theme, and craft than your typical midnight drive-in offerings. In the realm of horror cinema, A24 is even practically a brand unto itself, one as trusted (or loathed in some circles) as Blumhouse for being on the other side of the horror paradigm. Now synonymous with “indie cool,” A24 positions itself as an unofficial tastemaker for modern moviegoers, particularly millennials of a certain age. These facts are remarkable when one considers how big of an impact this small, independent label out of New York has had on pop culture. And fewer than nine have gone by since their earliest horror movie hit art house screens (Denis Villeneuve’s Enemy, for the record). It’s been less than 10 years since A24 released its first picture.
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