Writer-director Jayro Bustamante has quietly become one of the most interesting and adventurous filmmakers today. He’s carved out a niche for himself, telling stories about the marginalized within his home country of Guatemala: “Ixcanul” — his debut — told the story of an indigenous girl awaiting an arranged marriage; his extraordinary (and criminally underseen) follow up “Tremors” followed the trials of an evangelical gay man torn between himself and his family, one of the best of 2019 in a year overflowing with greatness.

His third feature — making the festival rounds the same year as “Tremors” — at first glance appears to be an abrupt shift in MO, given that it’s a horror film centering around the Latin American ghost story of “La Llorona” (especially considering the last film on the subject). It doesn’t take long to dissuade any fears; though it’s slower than your usual horror film, Bustamante’s eerie, deeply political film is a unique picture, deftly showing what horror can be.

From the very start, Bustamante’s gifts for composition are on display, as he zooms out from a woman fervently chanting a prayer. She is Carmen, the wife of retired general Enrique Monteverde, due to stand trial soon for crimes related to an ethnic cleansing that took place under him. There’s a lightly amusing moment where he stands perfectly fine, discussing tactics with his people, and in the next shot he’s in the courtroom, hooked up to an IV and looking as frail as possible. It brings to mind that infamous picture of Harvey Weinstein using a walker in his own court sessions. The two aren’t facing this alone: there’s also his daughter Natalia and her own daughter Sara. If she doesn’t exactly push back, Natalia isn’t quite sure her father is innocent of the crimes against him, even if they insist he is. It isn’t long before Monteverde is convicted, and even shorter before that’s overturned by an appeals court, sparking mass protests outside their home. Making matters worse for them, all the staff quit shortly, spurred on by troubling behavior from the master, leaving only Valeriana, their longtime housekeeper. In her desperation, she hires a woman named Alma who appears suddenly, claiming to be from her village.

Those expecting a straight-forward haunting or revenge film will probably be disappointed. Much of “La Llorona” feels like a family drama, reminiscent of Bustamante’s last film (even featuring an appearance from lead Juan Pablo Olyslager as head of security). It’s never quite scary, though Bustamente gets in plenty of nightmarish images, like Alma’s hair floating in water around her face. What this film is interested in is Guatemala’s sordid history of indigenous genocide and the way the people involved still deny responsibility. In addition to these themes come the class and gender themes of his previous work, with varying degrees of subtlety. Granted, it can be a little impenetrable if you don’t know much about Guatemala’s history, and some of the greater political subtext could get lost. But one can’t ignore the ambition on display here, and Bustamante’s dedication to calling out his country’s past. It’s a horror film where the monster is the past, and the more you run from it, the angrier it gets.

“Yap Man” — Mac DeMarco

Mac DeMarco should be remembered as one of the best songwriters of the past decade. While his dreamy tones on guitar have become a trademark of his music, he consistently writes beautifully simple lyrics with sparse melodies. Without ever having charted a song on Billboard’s Hot 100 songs chart, he has become one of the most popular “indie” or “alternative” artists of this generation. Mac DeMarco makes music that both sounds cool and is different from Top 40 pop, similar to the appeal of artists like Tame Impala and alt-J.

On Oct. 9, Mac DeMarco released his second demo tape for his 2019 album “Here Comes The Cowboy.” Titled “Other Here Comes The Cowboy Demos,” the tracklist is nearly half instrumental. “Yap Man” is a short, lyric-less track based around spacey synth melodies. The drums are very live-sounding, and the bass rounds out the mix and grooves nicely with the percussion. The track only has two sections to its progression, but simplicity is one of Mac’s specialties. It’s a short intermission track, but it gives the feeling of walking into a new area that you’ve never visited in an open-world computer game. DeMarco doesn’t need lyrics here to prove his songwriting skills. He can still create a defined mood with just melodies and textures.

“JEWELZ” — Anderson .Paak

In a different lane than Mac Demarco, Anderson .Paak also deserves to be remembered as a legend of this generation. Along with his band, the Free Nationals, Paak has proven to be a rare talent who can pump out funky hits effortlessly, album after album. His newest loosie single “JEWELZ” was released on Oct. 6 after it was teased in February in a video with producer Timbaland. Fans were eager to hear this collaboration, and the track was properly released with an album cover showing off his newly- released, custom Vans shoes.

“JEWELZ” features Anderson .Paak’s pitched-up vocals throughout the whole track flexing on the entire party while also flattering his love interest. It’s a fairly simple track lyrically. The keys are played by T.Nava, who stands as the lead personality in the Free Nationals. His vocals also appear through a vocoder in the back of the track until his solo in the song’s bridge. Anderson .Paak himself delivers a tight drum groove to go with the danceable bass and sparing guitar stabs. Besides the high-pitched vocals, “JEWELZ” is not a new sound for Paak. He has delivered some of the best R&B/pop hits of the 2010s, like “Am I Wrong” or “Jet Black.” “JEWELZ” is just a few generational talents casually showing off, and they have every right to keep doing so.

“Circle the drain (Unknown Mortal Orchestra Remix)” — Soccer Mommy

Following the February release of her second album, “color theory,” Soccer Mommy dropped a double single on Oct. 8. This package contained two remixes of songs from her recent album, one being a version of her lead single “circle the drain.” I personally love this original track and firmly believe that it should’ve been the song of the summer for 2020, so my standards were held very high going into my first listen.

However I was pleased to see that Unknown Mortal Orchestra was the artist in charge of this remix, and I was eager to hear how his lo-fi style adapted to an already fantastic song. The chilled, acoustic band’s instrumental of the original track is completely switched out for a glitchy, upbeat sound. Short, marching band-style drums give a stiff groove that’s unsettling at first, but the computerized vocoder effects on Soccer Mommy’s vocals compliment the stuttering drums very well. The floating synths in the back of the mix complete the PC Music-esque production. It’s not groovy at all like some of UMO’s most popular tracks and it’s completely different from the original “circle the drain,” but the hyperpop elements make for an unexpected and interesting listen.

In general, artists remixing each other’s work opens huge opportunities for great music and extra publicity. Many artists have unique production styles that would be exciting to hear with the vocals of another singer. A remix by an artist could be just as gratifying as a feature for fans, and artists can have a chance to flex their skills. With artists like Tyler, the Creator and Calvin Harris exemplifying the benefits of remixing in the past, I fully support this trend and hope to see more ambitious artists take the challenge soon.

“CAUSEWAY” — Zack Villere

2020 has been Zack Villere’s year. In February, he released his sophomore album “Cardboard City,” which has stood as my favorite album of the year so far. His odd vocal delivery has always been charming to me, and his writing comes off casual without losing emotion. His new single ,“CAUSEWAY,” was released on Oct. 14, and it shares almost all of the same appeal as his album.  Compared to “Cardboard City,” the single strikes me a more accessible start for new listeners.

Zack’s vocal delivery is still low and amateur, but a bit less awkward. The vocal lines are smoother, and near the end a beautifully full harmony comes out. The lyrics talk about places Zack used to travel in his phases of life. He references a causeway he used to drive everyday to school, and a long walk home in Los Angeles. Even as he reflects on a doomed relationship for a moment in the second verse, the instrumental picks the mood right back up.

The production features bouncy electric drums and soft synth noise under perfectly layered acoustic guitars. As the song swells in the second half, more synths are brought in to complete the electronic crescendo. No one sells youthful optimism in music quite as well as Zack Villere. While his audibly imperfect vocals are definitely not for everyone, I feel that they fit perfectly with his stream-of-consciousness lyrics and warped instrumentals. His music is a whole that’s incomplete without its key characteristics. I suggest those who are unfamiliar give this song a try in particular, because it’s one of Zack Villere’s most appealing and flattering tracks that he has made to date.

“Dye It Red” — Beabadoobee

When I went to see Clairo last year at the Union Transfer, I was introduced to the artist Beabadoobee when she performed as one of the opening acts. At first I was under the impression that this was a small group act, and I found myself searching for one of the songs I had heard from them, titled “Disappear.” While this song has become one of my favorite tracks of 2019, I give it credit for tuning me into Beabadoobee and making that concert one of the most influential shows I’ve attended.

Now in 2020 I have realized that Beatrice Laus, the voice and brains behind Beabadoobee, is dropping one of my most anticipated albums of October, titled “Fake It Flowers.” Aside from two pre-released singles, the new track “Dye It Red” has especially caught my attention. The lyrics talk about a trapping and possibly abusive relationship, and Bea uses the example of hair coloring to exploit the unreasonable limits set by the man. The song is an anthem for getting yourself out of a relationship that’s holding you back personally, and the chorus is full of cool guitar riffs to emphasize.

The entire album is Beabadoobee’s dive into 2000’s pop-rock, a move made obvious and achievable by the lead single “Care.” The drums on “Dye It Red” are clean and cymbal-heavy on the chorus, but calmly compliment the crunchy mix of acoustic and electric guitars on the verses. Bea’s youthful voice is sweet and soft, which makes the level-headed kiss-off even more painful. The flying guitar solo before the last chorus is wild, and the feedback drenched outro is an instrumental mic-drop. Even though I may enjoy “How Was Your Day?” or “Care” a bit more, “Dye It Red” confirmed my hopes that “Fake It Flowers” could live up to my hopes.

The Triangle’s A&E section is introducing a new column highlighting creative students of varying majors and the work they have created during the pandemic. This form is open to all students (and graduated students). This week, Screenwriting and Playwriting majors have the spotlight.

Screenwriting and Playwriting majors depend on the live performance industry, and the nationwide shutdown has many recent grads panicking.

“My job prospects are gone for the time being,” said Liv Shoup, a recent Screenwriting and Playwriting graduate.

Despite the job scare, Shoup has still been creating scripts in her newfound free time.

“I’m currently working on a pilot, and I’ve been able to use the time to write some goofy stuff. I wrote three spec scripts for Cartoon Network’s ‘Sonic Boom’ just to warm myself up, and they’re genuinely some of the best work I’ve ever done,” Shoup stated in our form.

Chloe Tolderlund and Angel Chasco, senior Screenwriting and Playwriting majors, spent the past two terms in virtual classes. Both students miss the social stimulation of creating in-person and the productivity that came with living an active life.

However, Tolderlund participated in something new this summer.

“I was a volunteer playwright mentor for the Mantua Theatre project this summer (virtually) and helping kids 7-12 write 10 [minute] plays was very soothing for my soul. Despite being unable to get much of my own work done, it was nice to help the kids,” Tolderlund said.

Many local theater productions have tried to adapt to the current situation by offering similar ways to get involved with theater, such as creating virtual productions.

Overall, Screenwriting and Playwriting majors have found creating in this time to be a difficult adjusment, but many have been able to pursue passion projects. These students have been writing scripts on their own time or paying extra attention to turning in schoolwork they are especially proud of.

Netflix returns with another beloved hit in its new original series “Julie and the Phantoms,” inspired by the Brazilian show of the same name. In the show, a teen girl struggles to rediscover her voice after her mom’s death, until three members of a ’90s pop/rock band reappear to her as ghosts.

While geared towards kids, the underlying emotional themes and well-developed soundtrack will appeal just as much to college-age viewers.

While the script can be a bit childish — one can only watch a teen girl stress over going to a high school dance so many times — a variety of topics are brought up (and done well!) in the show, including grief. “Julie and the Phantoms” discusses death in a gentle but easy-to-understand manner by providing a new twist on the much-discussed afterlife concept.

Kenny Ortega, director of many beloved films (including the “High School Musical” franchise, the “Descendants” franchise, “Dirty Dancing” and “Hocus Pocus”) returns again with some of the movie magic that filled the childhoods of current college kids — in just nine episodes.

Ortega pays homage to some of his own work; the track “Finally Free” echoes the iconic “Breaking Free” number of the original “High School Musical,” and some recognizable “Dirty Dancing” choreography is implemented towards the end of the series.

The charming cast features not only great actors, but also great musicians. All of the members of the “Julie and the Phantoms” band are actually singing and playing the instruments of the characters, something relatively unique to this show. Newcomer Madison Reyes shines with her powerhouse vocals at just 16 years old, across from Charles Gillespie (“Charmed”) as lead guitarist and love interest Luke.

Similarly to last year’s “High School Musical: The Musical: The Series,” it was the music that drew in a large audience. “Julie and the Phantoms” features 15 new songs from David Lawrence, including pop-punk jams and moving ballads. Gillespie and Reyes co-wrote “the song “Perfect Harmony” for the show as well. 

What truly separates “Julie and the Phantoms” from other kids’ shows is “Unsaid Emily,” Luke’s ballad to his mother. This heartbreaking song drew thousands of watchers to tears, as everyone can find a little piece of their own regret in the lyrics of the song. 

Easily bingeable with just four and a half hours in total, “Julie and the Phantoms” delights audiences of all ages and leaves them begging for a second season. The songs will be stuck in your head for hours, but when they sound this good, that’s hardly a complaint.

The second season of “The Boys” gave fans more of what made the show’s first season so popular and acclaimed. The show delivers in spades on its identity as a superhero show for adult audiences, and serves as a grittier and more complex response to the more watered-down mainstream superhero content that has dominated the box office for the last few years.

The show also doubles down on its political commentary. Some of the #MeToo movement commentary that last season provided is still present. However, this is largely left behind in favor of focusing on white supremacy as a major source of conflict in the show. Without entering spoiler territory, the show makes some bold choices in how it explores this theme.

It continues its not-so-subtle commentary on Hollywood and corporations. There are several scenes that strongly feature the brands of the supes and the public opinion surrounding them, as well as some of Vought’s media stunts. However, there was also a strange trend this season referencing current or recent pop culture trends(eg. Ed Sheeran, Hamilton, Pewdiepie) that felt like they broke some of the world of the story a little. It seemed to be done in an attempt to make the world feel more similar to the real world, but fails to do so.

There are many parts of the show that I found dragged, and a few plot threads that were started but were either dropped or didn’t go anywhere meaningful. However, there were a few other storylines and characters that were much more compelling, which made it easier to sit through some of the less interesting moments. The season culminates by bringing the best elements of the season together in a very satisfying climax. This, more than anything, was what I found to be season two’s greatest success.

Every major character from season one is back, along with a couple notable newcomers. Homelander, Butcher and super newcomer Stormfront get the most attention, or at least have the most satisfying progression this season. Starlight, Maeve, Becca, Huguie, Kimiko and newcomer Victoria Neuman also play big roles and have a few compelling storylines and memorable scenes. Other supporting characters like A-Train, The Deep, Mother’s Milk, Frenchie, Black Noir and Mallory come back as well in about the same capacities as season one.

If you were a big fan of the first season, I would highly recommend watching this if you haven’t already. If you, like me, watched season one but don’t necessarily consider yourself a fan, there are some improvements here , but there will probably be parts that you find a bit boring. On the whole, this season was a good continuation of the show in a lot of senses even if it was still lacking in some areas.

This past weekend, I kicked off Spooky Season by attending Nightstream, a virtual film festival for horror fans presented by the Boston Underground, Brooklyn Horror, North Bend, Overlook and Popcorn Frights Festivals, all of which were cancelled earlier this year due to the pandemic. The festival ran from Oct. 8 to 11, with select films and events available to watch on demand through Oct. 14 — a perk of the virtual format.

Alongside films from new and veteran filmmakers, Nightstream also included similar genres like sci-fi, fantasy, thriller and underground. My favorite films from this line-up were those that pushed the definitions of their respective genres. One of my big takeaways from Nightstream is that the horror genre is increasingly difficult to define, with many filmmakers preferring to label their films simply as “genre.” If the films shown at Nightstream represent the future of horror, I could not be more excited.

As a massive fan of practical effects, my most anticipated film was “Frank & Zed,” writer-director Jesse Blanchard’s gore-soaked all-puppet horror film lovingly crafted over the course of seven years. “Frank & Zed” tells the tale of two monsters, a town full of vengeful villagers, and the curse that compels them to face off in a prophesied “orgy of blood.” While the film is a little rough around the edges, there was more than enough blood, humor and heart to win me over.

Another highlight was “The Returned,” a fresh take on a zombie film by director Laura Casabe. Set in 1919 Argentina, the film follows a plantation owner’s wife who calls upon a mythological force to resurrect her stillborn son. “The Returned” feels like an A24 film — beautifully shot, deliberately paced and genuinely unnerving. At the heart of the film is a powerful metaphor for colonialism and the oppression of indigenous people in Argentina.

The biggest surprise for me, however, was “Climate of the Hunter, from prolific indie director Mickey Reece. His latest effort is a stylish 70’s throwback about two sisters whose relationship crumbles when an old friend (who may be a vampire) comes to visit. It’s a moody, character-driven drama full of dreamlike imagery, bewitching performances and (for whatever reason) an absurd number of Jell-O molds. While this film may emphasize style over substance, the visuals are dazzling and the storytelling is enthralling.

Besides films, Nightstream offered a combination of live and prerecorded panels, podcast recordings and other horror-themed events. These events may have been my favorite part of the festival. Of course, there were some issues with lag, but the chat was lively and there was a great sense of community despite the virtual format. One of my favorite moments happened during the Strange Storytelling Hour hosted by the Northwest Film Forum. While waiting for everyone to connect to the Zoom call, the panelists took turns showing off their pets and invited attendees to do the same. It was shocking how easy it was to make a connection with a group of horror-loving strangers all gathered around their laptops.

The panels and discussions covered a wide array of topics, with some of my favorites including “The Future of Horror is Female,” “Horror Camp!” (about campy horror films and why we love them) and “Making COVID Work: How to Create During a Global Pandemic.” Other events included a panel on Indonesian horror, a conversation with Nia DaCosta (director of the upcoming “Candyman” remake) and a virtual dinner party with horror legends Mick Garris (“Masters of Horror”), Mike Flanagan (“The Haunting of Hill House” and “The Haunting of Bly Manor”), Tom Holland (the filmmaker, not Spiderman, behind “Child’s Play”) and more.

Overall, my experience was surprisingly smooth. I was expecting more technical difficulties, and while there were a few bumps in the road, I don’t have any real complaints. Of course, an online festival or convention will never be the same as an in-person event. But, all things considered, Nightstream was a fun way to kick off Spooky Season with people who love horror just as much as I do. There’s no telling what the world will look like next October, but if Nightstream returns in 2021, I absolutely plan to attend.

Ignite, a virtual theatre experience, opened online this past Sunday, Oct. 11.

The show comes from The Strides Collective, a group of young actors and technical crew members who have dedicated themselves to providing diverse and meaningful performances, despite the continuing pandemic. Ignite utilizes a series of audio and video recordings to tell a unique story, all accessible from your living room couch.

The online experience places you behind the screen an investigator into the library fire of a small Rhode Island college. You are provided with a website containing recordings of the phone and video calls from ten key students who are suspected of starting the fire, as well as a few audio recordings of conversations between these students. 

These recordings are separated by students involved, but you are encouraged to navigate the site independently, viewing the material in whatever order you choose. It’s your investigation, after all. As you click through the files, you learn more and more about the relationships between these students, following them through their highs and lows, trying to connect them all back to the library fire incident.

As you continue through the various recordings looking for information about the night of the fire, you unearth information about school-wide scandals and tensions between students. However, the performance isn’t all drama and scandal, touching on more serious topics such as living as a gender nonbinary person on a small college campus or participating in Greek life as a person of color. The cast is diverse and inclusive, highlighting the stories of those not always seen in mainstream media or large theatre productions.

The performances were all quite realistic, even nailing down the awkwardness of sitting on a silent video call before anyone else arrives. Although you can’t always see each actor’s face during the recorded phone calls, you can hear the motivation and intention behind each character’s voice. The more you watch and listen, the more invested you will likely become in the struggles of each student, hoping that each small detail they provide will bring you closer to finding the library fire culprit. 

The technical side of this production was also well-done, and audio itself was incredibly detailed, with background noise in each phone call hinting at the intended location. The website in which each recording was situated was simple but effective, and it is easy to quickly click from student to student, checking the dates and times that each call was made. 

The performance is estimated by The Strides Collective to take approximately 120 minutes to complete. But if you wish to watch every video and listen to every single audio recording, this time is closer to 180 minutes. 

This show will run until Oct. 25. Tickets are free and can be reserved at https://www.brownpapertickets.com/event/4730042. All performances are completely online and must be attended at the time on your reserved ticket.

If you enjoy listening to mystery podcasts or watching investigative dramas, then this is the show for you. Even if you aren’t a fan of mystery, you should still give the experience a try, as it is a unique take on the traditional performance medium that features themes of suspicion, honesty and friendship.

Drexel University virtually connected with Netflix’s Queer Eye star, Antoni Porowski on Tuesday, September 29. 

Students were able to watch Antoni’s at-home cooking demonstration on how to create the perfect scrambled egg on a live Zoom call. He showed his audience how to make this very student-friendly recipe, which is great for those with a busy schedule. 

Antoni highlighted some of his favorite tips and tricks for creating creamy scrambled eggs. He explained that adding a splash of water to your eggs before whisking them is a common technique used in France to help give the eggs a creamy consistency. To avoid the eggs getting burnt or too crispy, take the eggs off the heat a bit before you think they are done. He also mentioned that cooks should wait until the very end to add salt and pepper. Another easy way to add some flavor to a dish is to add chives and bagel seasoning, which can be found at your local grocery store. 

After the cooking segment, students had the opportunity to ask Antoni some questions. 

One student asked, “What was your favorite restaurant in Philly when you filmed Queer Eye and did you enjoy Philly?” 

Antoni replied, “ Loved Philly first of all, and my number one favorite restaurant is Zahav.” 

Another question was, “Which three people dead or alive would you invite to dinner and what would you make them?”

He answered, “Oscar Wilde, Johnny Cash and James Baldwin.” Porowski then went on to describe the personalized dishes he would create for each of his idols. 

For the rest of the call, Antoni answered questions and discussed some of his incredible stories from filming Queer Eye. For the most recent season, he said one of his favorite moments was when Rahannah received her brand new van for her mobile dog grooming business, “Stylish Pooch.”

The Zoom call was a great way to accomplish a more personal connection with a celebrity guest during the pandemic. Porowski was incredibly sweet and kind, it was really fun for students to spend an evening with him. For fans of Queer Eye, this was a great experience. 

Porowski concluded the webinar by saying thank you, encouraging everyone to go vote and to remember to wear their masks. 

Be sure to check out Queer Eye’s most recent season which took place in Philadelphia; you can even see them drive past Drexel’s Recreation center in one of the episodes.

While horror films have long been a vehicle for social commentary, they also have a history of sexism, racism and homophobia. Much of the LGBTQ representation in horror films is subtextual, exploitative or outright offensive. “Spiral” — a new politically charged psychological horror film about a same-sex couple in a rural town — is a welcome change of positive LGBTQ representation in the genre. While I appreciate the film’s attempts at social commentary, “Spiral” ultimately suffers from an underdeveloped plot and uneven script. 

David Kurtis Harder’s directorial debut, “Spiral” is exclusive to Shudder, a streaming platform for horror, thriller and suspense films. This was only my second time watching a Shudder Original, but I was more impressed by my first experience with “Host” (2020). “Spiral” hasn’t received much buzz, but after seeing familiar faces such as Ari Cohen (“IT”) and Jeffrey Bowyer-Chapman (“American Horror Story”) attached, I was cautiously optimistic.

The film begins in 1983 with two young men making out in a car — a variation on the classic horror trope. In a disturbing scene, three men with baseball bats approach, dragging one of the young men out of the car and beating him. We then jump forward to 1995. Malik (Bowyer-Chapman), one of the young men from the opening scene, is a writer who has left the city to start a new life in a small town with his husband Aaron (Cohen) and step-daughter Kayla (Jennifer LaPorte). While Aaron believes that times have changed and homophobia is no longer a concern, it is clear that Malik’s past still haunts him. After a series of strange and disturbing incidents, Malik becomes convinced that he and his family are being targeted by their neighbors, who are less accepting than they may seem. However, as Malik grows closer to discovering the truth, both his relationship with Aaron and his grip on reality begin to deteriorate.

At its core, “Spiral” explores the paranoia that comes with being gay in a homophobic society — and the terror of discovering that your fear is justified. The tension between Malik and Aaron, who have very different experiences with homophobia, is one of the more compelling parts of the film. Knowing that there are people who hate and fear you for who you are, do you stand proud or do your best to assimilate?

A thoughtful exploration of these themes could form the basis of an excellent horror film. However, “Spiral” rarely shows when it can tell, outright stating its themes rather than taking a more subtle approach. In a particularly cringeworthy moment, the villain explains the messages of the film in a poorly executed monologue. It often feels like “Spiral” is trying to be the next “Get Out” but isn’t clever enough to pull off the sharp political commentary it aspires for.

Misguided efforts at commentary aside, “Spiral” is a middling horror movie. On a technical level, it is a well-made film. The visuals are striking, the soundtrack is unnerving and the acting is generally very good. The naturally charismatic Bowyer-Chapman is excellent in his leading role. And while “Spiral” occasionally veers into melodrama, there are some truly heartrending moments throughout. However, “Spiral” doesn’t do much with the horror tropes it borrows, other than throwing in some LGBTQ themes.

The plot is more or less predictable, and the twist is less developed than I would have liked. For a film about the terror of prejudice, most of the tension comes from generic horror movie scares — creepy cults, abandoned houses, spooky attics and a couple pints of fake blood. This, in combination with some frustrating plot holes and contrived drama caused by poor communication (in what world would you not tell your husband about the homophobic slur painted on your living room wall by your creepy neighbors?), makes for an unsatisfying film. While “Spiral” poses some interesting questions throughout its runtime, it ends with some generic commentary about how violence against marginalized people is often overlooked. While true, this is a surface level observation for a movie that had the potential to say much more. 

“Spiral” is far from a bad film, but it is an underwhelming one. I am always happy to see more inclusivity in horror, but “Spiral” fails to live up to its potential. 

Since he burst onto the scene with “Memento” back in 2000, director Christopher Nolan has made a name for himself by altering how his characters and audience experience time in his films. This is present more than ever in his newest film “Tenet,” a spy movie which centers around a concept called inversion by which certain people and objects experience time backwards. The final product is an intriguing and exciting action movie with a relentless pace that, while very complex and potentially confusing, makes for an excellent theatrical experience.

John David Washington stars as a special agent known only as The Protagonist who is tasked with stopping a Russian arms dealer (Kenneth Branagh) and his allies in the future from using inversion to destroy the earth. The plot moves quickly and works through a lot of complexities, especially involving the nuances of inversion. This complexity is perhaps the film’s greatest shortcoming, coupled with the way that the sound mix sometimes drowns out expositional dialogue with score or other sound effects. So unfortunately, it is not a movie that most viewers are likely to follow completely on first viewing.

There is not a whole lot in this film in terms of compelling character drama. The characters themselves are well-constructed and it is possible to track their motivations both while watching it and in retrospect, but the story centers much more around the chaotic situation they are all caught up in rather than any kind of meaningful arcs. However, Nolan has clearly put care into these characters and creates a group of allies that are engaging to follow, helped in no small part by the all-star cast that plays them. To say that character is a weak point of the story might be an exaggeration, but it is unlikely that any character will be the thing to hook you in or bring you back for more.

That said, “Tenet” delivers a theatrical experience that is hard to match. Though it avoids some of the flashier visuals of most action films in favor of Nolan’s more grounded style and practical effects, the scenes involving inversion have some visually stunning moments that are unlike anything that can be found in any other movie. The action scenes break new ground in terms of choreography and feature some incredible practical effects. And where the sound of the film lacks in dialogue, it delivers in combining score and sound effects to create an immersive soundscape.

Having seen this first in IMAX and later in more standard format, I highly recommend seeing it in IMAX while it is still in theaters if you can do so safely rather than waiting for it to be released digitally. As mentioned, it is difficult to follow, but this is a movie that is made to be seen in IMAX or at least in a theater.

Although I will have to spend a bit more time with it to fully wrap my head around it, I can safely say that it is an ambitious but imperfect film. However, in a cinematic landscape that is trending away from original stories, it is refreshing to see Nolan taking advantage of his unique position and using his massive budget and creative freedom to make something truly original that has never been seen before and could not be created by anyone else. I will not defend it as one of his best films, but I will definitely be revisiting it in the coming months and will absolutely welcome a sequel if and when one is made.