The origins of the horror genre can be traced back to
, and the most successful of
early American horror films often imitated them. The success of American horror
relied on the imitation of German filmmaking, so it is disheartening to watch Heilstätten, a film which simply feels
like a cheap German imitation of The
Blair Witch Project. Derivative in every aspect of filmmaking and
narrative, Heilstätten has a few
sincere scares but offers absolutely nothing new to the genre. Even in terms of
the sub-genre of found-footage horror, it lacks any originality beyond a clever
third-act twist. Germany
Biopics have become as expected during award season as superhero movies during the summer (or any other time of the year, at this point), and Bohemian Rhapsody fits the bill perfectly. Not only does it have the usual narrative trappings of a musical biopic and a performance that carries the film, the last twenty-minutes of the film are basically just a recreation of Queen’s most iconic concert. It is also ironic that so much dedication was spent on accurately recreating this concert when basic life events are incorrect in the screenplay. Although this was most certainly done for dramatic effect, the very same people who would be most likely to appreciate the accuracy of the Live Aid section might also be annoyed by the changes made to Freddie Murcury’s life story.
Before Greta Gerwig’s Lady Bird, there was Diane Kurys’ Peppermint Soda, a French coming-of-age film in the tradition of The 400 Blows. Like many of the best coming-of-age films, it is largely autobiographical and therefore extremely personal, and yet there is also something extremely universal about the narrative. Despite being specific to the era that Kurys grew up in (the film takes place during the early 1960s) and made in the late ‘70s, there is something that will always be timeless about growing up.