In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. For our eleventh recommendation, we dip back into academia once more as students everywhere begin their summer holidays, taking a look at an irresistible Muriel Spark story about idolization, predestination, and the crème de la crème: The Prime of Miss Jean Brodie.
In this new weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week we unearth a startling mix of crime and horror from the Swinging Sixties, fronted by a memorable Oscar-nominated performance.
The film is the very essence of “hag horror”: we’ve got a mentally unstable protagonist (Davis) wasting away in a decaying Louisiana mansion, we’ve got dismemberment, we’ve got gaslighting, we’ve got sassy maids with suspicious minds.
Saying that The Manchurian Candidate has renewed relevance is like the pot calling the kettle black.
The film moves in patterns. It’s unhurried about the task at hand, nor does it hurry to reveal too much, too quickly.
Carnival of Souls is very noticeably low-budget. So much so that you don’t have to visit the IMDb Goofs section for insight.