Ed Sheeran waxwork unveiled at cat café

Ed Sheeran
Updated 14 June 2018
0

Ed Sheeran waxwork unveiled at cat café

Ed Sheeran has played to packed stadiums around the world, but now he, or rather a wax figure of him, can add a cat café to the list of locations. Waxwork museum Madame Tussauds on Tuesday unveiled a model of the British chart-topping musician at Lady Dinah’s Cat Emporium in London, where customers sip their drinks surrounded by felines.


Film review: Ghost story falls frightfully short on scare factor

Updated 32 min 14 sec ago
0

Film review: Ghost story falls frightfully short on scare factor

CHENNAI: Cinema has long had a strange fascination for ghost stories, particularly since the blockbuster horror movie “The Exorcist” in 1973.

But try as they might, writers and directors have consistently failed to come up with anything fresh other than the standard jump-scares and hideous female spirits with blood-red eyes and disheveled hair.

Director Michael Chaves – known for shorts such as “The Maiden” and the TV mini-series “Chase Champion” – has now transitioned to fiction features with “The Curse of La Llorona,” a fright film that offers very little in the way of novelty.

A quick opening scene of a young woman drowning her two sons to punish her straying husband, establishes a 17th century Mexican folktale.

Viewers are then transported to 1973 Los Angeles, where recently widowed child protection worker Anna (Linda Cardellini) gets involved in the case of a mother, Patricia Alvarez (Patricia Velasquez), who keeps her two boys locked up.

Anna rescues them but then finds them dead before the next dawn. They have been drowned, and Anna recalls Alvarez ranting about the supernatural La Llorona.

Anna herself has a boy and a girl, and she remembers Alvarez’s fear about the tale of La Llorona who, consumed by guilt, roamed the land in search of children to take the place of her own dead sons.

Screenwriters Mikki Daughtry and Tobias Iaconis take the easy way out by peppering the plot with coincidences and unconvincing situations.

Even the film’s 93-minute run time seems stretched with flickering bulbs, creaking doors and howling winds adding little to the scare factor.

And then there is the movie’s conflicts between science and superstition, and the church and sorcery. The link is clumsy and the film pales in comparison to some others in the genre such as “The Woman in Black,” which had a similar theme but was executed with much greater perfection.