Flashback psychological time travel thriller is gripping



It’s one of the oldest cinematic techniques of all, but writer-director Christopher McBride gives us a Go back (15A) with a difference in this psychological time-traveling thriller. The film opens with Fred (Dylan O’Brien) struggling to cope with his dying mother’s dementia; Fred, who works as a data quantifier, angrily tells his wife Karen (Hannah Gross) that you are what you remember. And so Fred is deeply disturbed when he experiences bizarre memories of a near-death experience that seem to be linked to a drug overdose that Fred simply cannot remember. Did his subconscious erase the traumatic episode? And if so, why is he haunted by daydreams in which he seems to be living a parallel life with Cindy (Maika Monroe)? What follows is a fascinating exploration of “the greatest illusion of all: time”. Indeed, the title is a bit of a red herring, as Fred knows no linear flashbacks: Christopher McBride’s intricate storytelling involves crisscrossing and overlapping timelines as Fred finds himself occupying a point where the past , the present and the future collide. It’s an ambitious setting, and one in which Fred tries to investigate why Cindy seemed to disappear during their senior year in high school – a mystery linked to a deadly hallucinogenic drug that Fred’s friend, Sebastian ( Emory Cohen) was peddling at the time. . The result is a gripping thriller that skillfully plays with the viewer’s own sense of time, with Dylan O’Brien utterly believable as he blindly blunders through a feverish dream determined to belatedly do the right thing. . (streaming version)

Elysium

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Elysium (12A) is another film that plays with perceptions of reality, although here the main character, played by Lisa Pepper, is a married woman whose erratic behavior makes her husband Steven (Aaron Bridges) and her mother Goldie (Fran Tucker) that she needs psychiatric help. Diagnosed as a “narcissistic little kid” by her unsympathetic mother and as a woman on the verge of a nervous breakdown by Steven, Elyse is delivered into the hands of Dr. Philip Lewis (Anthony Hopkins), who soon realizes that Elyse is in. plagued by “catastrophic depression”. Can Elyse find her way back to reality? And what is she willing to sacrifice to be declared sane? Written by Audrey Arkins and Stella Hopkins, under the direction of Hopkins, Elyse is a meticulously crafted tale of agonizing emotional and psychological rehabilitation. From the start, when we first see Elyse on stilts drifting through a gray world and engaging in extremely cold conversations with her so-called loved ones, we understand that she suffers from a mental block that she uses as a shield against the harsh gaze of reality. What exactly she is hiding is revealed during her therapy, which does not make viewing comfortable: Dr Lewis prescribes regular electro-convulsive therapy, which turns into the realm of torture, even if it is inflicted for the benefit of ‘Elyse. Lisa Pepper is superb at bringing up the nuances of Elyse’s painful journey, and not least because the character spends much of the film in a semi-catatonic state, and she receives the strong support of Anthony Apel as a therapist from Elyse, and Anthony Hopkins, who is by becomes benign and terrifying as the divine doctor who controls Elyse’s fate. (streaming version)

Alex Ferguson: Never give in

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Most successful football coach in British history, Alex Ferguson suffered a life-threatening brain hemorrhage in 2018. Directed by his son Jason, Alex Ferguson: Never give in (G) is a documentary about Ferguson’s road to recovery, a process rooted in a never-say-die attitude shaped by a life that began “in the shadow of the Clyde Shipyard” in Glasgow. The film also chronicles Ferguson’s sporting achievements, first as a center-forward in Scotland, then as manager of Aberdeen and then Manchester United, when he led the two clubs to unprecedented success on the national and European fronts. The archive footage will be familiar to most football fans, though there are some intriguing glimpses of Ferguson operating behind the scenes; what is far more interesting is Ferguson’s understandable obsession with memory and his need to preserve his sense of self. The fierce competitor of yesteryear has been replaced by a more upbeat character who seems happy to have the opportunity to reflect on a decorated career, even though regrets sometimes surface over what was sacrificed – time with his family, mainly – to be successful. Some of his former players contribute directly to the camera, with Eric Cantona and Ryan Giggs both testifying to the manager’s “father figure” character, though Gordon Strachan, who played for Ferguson at Aberdeen and Manchester United, revealingly suggests that Ferguson was possessed. of the ferocious impulse of a “wounded animal”. (Amazon Prime)


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