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The film is an artifact of significant-spending plan ’80s horror purity: a point of following-amount special consequences, thoughts-expanding mystery, masterful way and the awesomeness that is Kurt Russell as the cherry on top. Yet in execution, it comes off as so considerably liberal guilt-stained hogwash, tarted up by Chen’s distressing inclination towards incongruous meta-pastiche and his reliance on Add-addled in-digital camera outcomes, which around-simplify instead than boost the direct character’s slow descent into madness. The closest this year’s series will come to a pack-’em-in cash seize is the Meryl Streep-starrer Dark Matter, even though its standard awfulness and essential ineptitude indicates that the Film Comment staffers could possibly be ‘avin’ a snicker at various of their patrons’ starry-eyed price. The foundation, animalistic urges of man might be the overarching concept, transmuted by all the things from zombies (Diary of the Dead) to warring mothers (Inside) to prickly paramours derived from Balzac (The Duchess of Langeais, née Don’t Touch the Axe), though, for me, the telling graphic of this year’s competition is the a single that closes Nanouk Leopold’s great Wolfsbergen, whereby various generations of a combative Netherlands family locate unspoken prevalent ground about the deceased body of their patriarch. Dark Matter’s opening picture certainly claims a plethora of unsuccessful self-seriousness, as Meryl Streep guest stars on a specific episode of Sunrise Earth, accomplishing Method Tai Chi although heavenly chorines, chanting in Hollywood Sanskrit, bemoan the eternal tragedy of person.