I See You (2019)

A revelation halfway through, one that cleverly had me reevaluating what sort of movie I thought I was watching, introduced me to a horror concept I probably would have been better off not knowing about - I will never listen to the creaks and groans of my home in the same way again - but once the movie aboutfaces after this surprise, it loses some credibility as the plot starts relying on an outrageous and exhausting confluence of events at the family home of Helen Hunt's Jackie Harper (although admittedly these events are all neatly tied up in the end).

★★★☆☆

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Bloodmoon (1990)

For the first three-quarters of this ugly, lamentably plotted slasher, no one in the movie even knows for sure that anything is wrong: two or three high schoolers disappear but their absences are shrugged off as runaways, which means a long plod for audiences who must endure woefully scripted school dances, waterhole picnics, and the like waiting for the characters to catch up with what the opening scene established - that someone is killing students with a barbed wire garotte in the nearby woods - and when the killer is finally revealed, the plot, the town's collective obliviousness, and the ignorance of one townsperson in particular (given the celestial and historical circumstances of the crimes) ceases to make any sense at all.

★☆☆☆☆ 

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Blade Runner (1982)

This classic film noir, an adaptation of Philip K Dick's Do Androids Dream of Electric Sheep, stars Harrison Ford as Rick Deckard, a gumshoe-turned-bounty hunter tasked with tracking down, in a future cyberpunk-neon Los Angeles of perpetual rain, six runaway replicants, androids built by the Tyrell Corporation replete with emotions and memories, making it hard for Deckard to distinguish them from humans.

★★★★☆ 

CINECAL: ONE SENTENCE REVIEWS