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The movie is an artifact of big-spending plan ’80s horror purity: a thing of next-level special effects, brain-expanding mystery, masterful path and the awesomeness that is Kurt Russell as the cherry on leading. Yet in execution, it comes off as so a lot liberal guilt-stained hogwash, tarted up by Chen’s distressing tendency towards incongruous meta-pastiche and his reliance on Add-addled in-digicam consequences, which about-simplify somewhat than improve the lead character’s sluggish descent into madness. The closest this year’s collection arrives to a pack-’em-in money grab is the Meryl Streep-starrer Dark Matter, even though its normal awfulness and critical ineptitude implies that the Film Comment staffers may possibly be ‘avin’ a chortle at several of their patrons’ starry-eyed expenditure. The foundation, animalistic urges of man could be the overarching topic, transmuted by all the things from zombies (Diary of the Dead) to warring moms (Inside) to prickly paramours derived from Balzac (The Duchess of Langeais, née Don’t Touch the Axe), though, for me, the telling picture of this year’s competition is the one that closes Nanouk Leopold’s wonderful Wolfsbergen, whereby numerous generations of a combative Netherlands relatives find unspoken prevalent ground about the deceased system of their patriarch. Dark Matter’s opening graphic certainly guarantees a plethora of unsuccessful self-seriousness, as Meryl Streep visitor stars on a specific episode of Sunrise Earth, accomplishing Method Tai Chi even though heavenly chorines, chanting in Hollywood Sanskrit, bemoan the eternal tragedy of person.