Does fortune favour the bold? Cast: Lily James, Armie Hammer, Keeley Hawes, Kristin Scott Thomas, Sam Riley, Ann Dowd, Bill Patterson, Tom Goodman-Hill Director: Ben Wheatley Screenwriter: Jane Goldman, Joe Shrapnel, Anna Waterhouse Distributor: Netflix Running Time: 122 min Rating: R Year: 2020. When she slaps around a mean, pretty woman (Osa Massen), Crawford looks like an enraged animal going in for the kill, yet Cukor gives her several close-ups where her vulnerability comes to the surface, and it isn’t the too-heavy, needy vulnerability we see in some of the actress’s lesser work. Budd Wilkins, From a script by Psycho novelist Robert Bloch, Strait-Jacket stars Crawford as an ax-murderer returning home to her now grown daughter. I hope people get that in order to take care of people and look out for each other, you have to first take care of yourself. Although Joan seems like an honest and empathetic woman, she’s actually a deceitful minion of Paimon, an avaricious king whom Annie accidentally helps to conjure from the dead. I don’t feel like Alex at all. The drivers are forced to deal with a series of physical and mental obstacles, including a stretch of extremely rough road called "the washboard", a construction barricade that forces them to teeter around a rotten platform above a precipice, and a boulder blocking the road. There’s also, of course, a past atrocity that haunts Sarah and Chris’s new residence. To a great extent, then, like so many romantic comedies, Raiff’s film is a nostalgic refraction of commonly shared experience. In a remote South American town, four men are hired by an American oil company to transport two truckloads of nitroglycerin to an oil field, to put out a fire. I did have another editor who came on to make sure I was seeing everything. Adorei o suspense, ainda mais pela pitada de comportamento humano. Most great movies are just there, like you don’t have to work hard to immerse yourself in it. But, for me, when I knew I was gonna make a movie about college, there was really only one thing that I could write about, and it was the pain of leaving home and growing up. It goes grinning into the void. The class war is an inexhaustible source of terror—particular here, in Recife, Brazil, an affluent coastal town whose middle-class comforts are quite literally built up and around its history of poverty and oppression. Crawford arouses sympathy and repulsion by turns, and the hilarious tunnel-vision focus that made her the ultimate camp totem is also what makes her lovable, in spite of the increasing warrior-hardness of her face, her often-monotonous intensity, and the sometimes off-puttingly aggressive way she offered her psychic battle scars to the camera. At the end, hallucinating outright, Jo sees his home again, the endless street, the fence, and the beyond. In 2010, the film was ranked No. Few if any Hollywood-adjacent filmmakers have put as much brain power into making the digital revolution work for them as Soderbergh has, and even Unsane’s most ridiculous moments coast on the sheer energy of aesthetic gamesmanship. A massive fire erupts at one of the SOC oil fields. Juliet (Sydney Sweeney) is jealous of her twin sister, Vivian (Madison Iseman). When the demons appear in the film, and in terrifyingly fleeting glimpses, Perkins understands them to spring from the deepest chasms of human despair. The oil company pays four men to deliver the supplies in two trucks. Below are some of our favorite films in the Criterion Channel’s retrospective. Julie very much feels the strain of being part of what one character calls “the Instagram generation,” where so many spotlights are thrust upon young people for their social media presences, their displays of talent, and the general democratization of fame in an age where anybody and anything can go viral. Crawford’s films are filled with funny contrasts and incongruities, and Sadie McKee is no exception: Even when Sadie is so down and out that she can’t afford a decent meal, she wears a stylish black suit with fur cuffs, and when she gets angry, Crawford drops her piss-elegant, strained diction and suddenly sounds like a tough broad trying to run a laundry. I think a good example is if someone’s sitting down crying at Greenhill, no matter what, in five seconds tops someone would be over there making sure they’re okay. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality. SOC is suspected of unethical practices such as exploiting local wor… Despite having nothing fashionable in either its politics or its preoccupation with the egotistical artist, The House That Jack Built is one of the most forward-thinking films of 2018 for how it proposes an unruly resurrection of the past, and one’s past self, in order to grapple with its significance. That’s Alex, and I think a lot of people probably deal with that. I was so dependent on my family members, and they were so rock solid that I got to college and felt like I was without oxygen for the first time. If watching movies wasn’t pushing you into making them, how were they acting on you and influencing you? For additional information about this film, view the original entry on our archived site. Are you someone who needs to parse the events of your life through art, writing, or creating something to feel some sense of closure or finality in the experiencing of it? The thesis of 28 Weeks Later is that the War on Terror is ultimately a self-destructive one for all concerned, from the bullying authority figures to the demoralized combat soldiers to the fractured family units. More than the mechanics of their plight, Clouzot lavishes his attention on the always frangible equilibrium of the group dynamic, documenting with particularly pitiless clarity Jo’s devolution from swaggering man of the world to cringing coward, someone who hides behind a wall at a safe distance while Mario maneuvers the truck around the timber switchback. And the carnage, when it arrives, is staged with an aura of guttural bitterness that refuses to give gore-hounds their jollies, elaborating, instead, on the desolation of the characters committing the acts. The everyman hero this time around is Don (Robert Carlyle), who thinks he and his wife (Catherine McCormack) are safe in their wee rural cottage when the rage virus transforms most of mainland Britain into shrieking, blood-vomiting zombies that sprint head-on at their victims. Less social critique than abstract deconstruction, Kleber Mendonca Filho’s Neighboring Sounds is very much about the power of the cinema not to deliver, but to portend, and to that end its gears are always turning. I think Maggie’s line is, “Just because your life’s shitty doesn’t mean you can make other people feel like their life is shitty.” Alex is so harsh about the way that people are just trying to survive because he’s not doing a good job of surviving. When I saw your background when reading about Shithouse, I thought the odds were low that you’d be able to talk to someone on a press tour who’d be able to talk about both the film and the specific Texas private school background it comes from. So, I didn’t feel that we had to do that. I think the same can be said for the macro and micro experience. At least from a filmmaker’s perspective, you’ve got all sorts of reasons why, eventually, you have to walk away from production. Crawford saw that mental illness shows itself above all in the eyes, in the way they seem to stare inward instead of out at the world, and she replicates this quite strikingly. It strikes a delicate aesthetic balance between hysteria and control, most evident in an unforgettable scene in which Susie (Dakota Johnson) dances for Madame Blanc (Swinton), much to the bone-breaking detriment of the Markos Dance Academy’s former star. "Drivers Wanted. It’s really tricky because I think there’s a story that the character is so close to me, but it’s really not. So good! Honestly, when I was acting in it, it was pretty cathartic because there were certain scenes where I had never really gone there. Behind all that, though, is some otherwise promising subtext about the desire to succeed at a young age. No, I just wanted to have the stuffed wolf. Callahan, It’s no secret that Crawford and Bette Davis envied and openly despised one another; there’s abundant anecdotal lore that testifies to the myriad ways these divas one-upped and punked each other during production. It’s hard to care about Louise or David, but Possessed does have a few very good insights into the self-abasing aggressiveness of unrequited love. The film represented for Crawford what Rocky later represented for Sylvester Stallone: a do-or-die stab at survival in Hollywood that subsumes the star’s autobiographical struggles metaphorically into the narrative. Gruff to the point of brusqueness, O’Brien betrays a callous, eminently businesslike attitude to death and injury, though, on the other hand, he stands up for the drivers, having known Jo since their “contraband days” back in the ‘30s. With short notice and lack of proper equipment, it must be transported within jerrycans placed in two large trucks from the SOC headquarters, 500 km (300 miles) away. After the driving skills of the applicants are tested,...read more. By the end of the film, Alex will be able to articulate exactly what his problem was, and decide upon the actions—even taking up exercise, a cliché that Maggie only semi-seriously tosses out as a suggestion for managing his anxiety—that he needs to take to, well, come of age, thus steering Shithouse toward its obligatory happy ending. One crucial problem with this new version of Rebecca, in fact, is that Max is reduced to little more than a repository of warning signs, from refusing to answer his bride’s questions to growling “Put that back!” when she dares to pick up a volume of love poetry that Rebecca had inscribed to him. Bien des années après avoir vu le film que je considérais comme un chef d'œuvre, j'étais curieuse de découvrir le roman dont il était tiré, mais loin de m'imaginer qu'il me tiendrait tout autant en haleine. Crawford is sensitive, operatic, and quite touching, especially when Millie first lets her guard down. A rushed and cartoonish final act, though, involving cops colluding in the uncontrolled detonation of parts of suburban Boston puts rest to such reveries. A film as essentially kind-spirited as its protagonist, Shithouse builds toward Alex’s realization that his approach to college needs correcting by dedicating its second half to his discovery that the people around him whom he’s dismissed are, in fact, real people. Parboiled by the South American sun, the godforsaken town of Las Piedras serves as a particularly hellish human cul-de-sac, where a motley band of multinational good-for-nothings has washed up like so much flotsam. Only real men, read drivers, need apply. Crawford sometimes comes through, but mostly we’re watching Millicent Wetherby. Your new favorite show is right here. A house built of corpses is both a provocation and an invocation of documentary footage taken from Auschwitz and Katyn. I made a sweatshirt instead and made it so that if I said something…there’s actually a scene where I talk about Greenhill, and not that I shit on it. These are thrillers with neither thrills nor much other texture in their place, suggesting first acts that have been stretched out to feature length.
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