That’s our only salvation. She had called them. Trump said some awful things. Arca’s gender identity is infused in the playfulness of her lyrics and compositions. While Onward begins as a story of bereavement, it soon turns to celebrating the payoffs of positive thinking. But the album retains a sense of mystery in its polar energies, intentional excesses, and violations that make you want to keep sifting through it. Literally, as we were shooting the film, the Katrina disaster was unfolding. With affectionate thanks, Kate Hep.” It was a full-circle moment that encapsulates the importance of healthy industry relationships and continued commitment to the craft of acting beyond awards. Sitting at the bar of a restaurant where silence is mandatory, his airpods act as a vessel for the devilish voice in his head. But here, the characters aren’t recordings, and they’re at least partially conscious of their imprisonment, consigned to live out the same events in perpetuity. [laughs] I say that with humility and gratitude for the opportunities I’ve been given. You do it for your grandchild. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. Glenn Close thrives on personal relationships, the heart and soul of her industry, not on accolades. There wasn’t hope yet on the horizon. So that Abbie would fit in fine. Chicago Seven defendant Rennie Davis required a stretcher after he was struck in the head with a billy club. Again, it’s very obedient to the rules and laws set forth by the existing material. Linden skillfully draws us into this narrative, emphasizing the nuts and bolts of hunting and the terrifying anonymousness of the drab and shadowy woods, before springing a series of startling traps—of both the narrative and literal variety. If would seem that, mentally, they’re still stuck in Sydney, but home doesn’t exactly suggest a kind of Eden, given how they’re thrown into chaos when, upon their return, the metropolis is revealed to be a den of miscommunication. The little green men who are fortunate enough to discover the images and sounds contained on each record, including a 90-minute selection of music, can delight in Bach’s Brandenburg Concerto No. Though the second film, most commonly known in America as The Road Warrior, is often cited as the masterpiece of the series, the original Mad Max is still the most ferocious and subversive. I think my first two films, and especially my second film, were kind of just built to be expanded upon. And she had used it. She wasn’t begging. His wife, Anne (Camille Sullivan), isn’t written as a one-note nag of a wife, but as a poignant fount of common sense, and his 13-year-old daughter, Renee (Summer H. Howell), is shown to be torn between being a hunter and a normal little girl. From The West Wing to The Social Network, Moneyball, and Steve Jobs, Sorkin is no stranger to dissecting the politics of corporate competition and depicting fortuitous moments in American economic history. That whole way he remained a big supporter, a great source of advice. Unless, that is, they had a douchebag older brother in the family who spent most of his childhood speaking in funny accents and hoarding his piggy-bank money to buy his first hot rod. We have to learn the “why” of their behavior even in extreme cases. That storied career includes one Academy Award, two Golden Globes, and six Emmys. This far more interesting dichotomy gives Brave an especially fresh and expressly female perspective. At the same time, the genre manages to find fresh and powerful metaphors for where we’re at as a society and how we endure fractious, fearful times. With the help of his uncle (Matheus Nachtergaele, in an extraordinarily physical performance), they fix up old cars that have been banned in Brazil, retooling the write-offs as the ultimate smart cars. The Sacrament recalls Adolfo Bioy Casares’s 1940 novel The Invention of Morel (and the Emidio Greco’s 1974 film adaptation starring Anna Karina), in which a scientist records what’s meant to be a perfect weekend on a remote island, then projects it three-dimensionally on an infinite loop atop the locations where it unfolded—a vision of what cinema (and home movies) could be if untethered from the screen. Nichols was forthright about the motives of his protagonists, but cagey about whether their causes were worth believing in. It’s definitely looking back further, much earlier than Trump. The film swirls with self-help lingo about finding your spark and seeking your purpose, but that’s almost entirely in the context of Joe’s midlife crisis, a sliver of the human experience with which children seem unlikely to resonate. And as much as I love the theatrical experience—and if I do get to finish my two big Southland Tales movies, I would love for them to play in theaters at some point if possible. I’ve done so much work to expand the story, and there’s a graphic novel prequel series to the film. In my mind, some of the films that I’ve made would just be one chapter in a much bigger novel in my head. The year’s best electronic albums drew on influences far and wide, excavating the origins of humanity (Disclosure’s Energy) and looking inward (Arca’s Kick I and Caribou’s Suddenly) or up to the heavens (Sufjan Stevens’s The Ascension and the Avalanches’s We Will Always Love You, the latter of which likely would have made our list of the 50 Best Albums of 2020 had it been released just a few weeks earlier). The film’s Sydney is all popping colors and steely surfaces, with cinematographer Dimitri Zaunders skillfully homing in on its labyrinthine streets (he’s also attuned to the still heat of Australia’s east coast). Though not as technically jaw-dropping as their 2000 debut, Since I Left You, or its belated follow-up, 2016’s Wildflower, both of which are said to employ upward of 3,500 samples apiece, We Will Always Love You is undoubtedly the Avalanches’s most conceptual effort to date. It’s a 21,000-page trial transcript. When the bonds between the Abbotts are tested by the external threat of the alien invaders, the viscerally physical ways in which they protect each other from harm are powerful, and it becomes clear that these characters have had to learn different and perhaps more subtle methods of communication due to the circumstances in which they’ve found themselves. That’s part of the challenge of doing a project like this: You have to build a time machine and travel back into the past. She always had a cigarette hanging out of her mouth. Sarah (Sarah Bolger) is about to use her vibrator only to discover that it needs batteries. The lure of the automobile as a sexual object also seems quaint when you consider that Ridley Scott had Cameron Diaz ride a bonnet in The Counselor, and that David Cronenberg, with Crash, made the definitive statement on the relationship between the cold machine and the warm body without landing as hard as Pinheiro does here into exploitation-leaning themes. The film begins as a fairly well-worn tale of millennial angst, with a pair of Sydney-sider acquaintances, Ray (Fergus Wilson) and Alice (Emma Diaz), agreeing to camp together on their way back from a trip to Brisbane. Unfolding over the course of a long day, the film follows parents as they’re driven to kill their children in a mass outbreak of violence. That’s a challenge, but you also have the gift of the footage that exists that we captured in 2005 as a companion, guide, and style rubric. Many people don’t realize that he was referring to the 1968 Democratic Party Convention. I hope we’re all still here and in a much healthier place by then. Bowen, Review: Monster Hunter Lacks the B-Movie Spark of Paul W.S. The film is most notable for its evolving visual concept: Each car takes one closer to a representation of the world as it presently works. And we happened to be shooting a scene in the courtroom that had the entire cast in it. And as you said, it organized itself into three stories that I was going to tell at once: the courtroom drama, the evolution of the riot, and the friction between Tom and Abbie, two guys on the same side who plainly can’t stand each other, and each thinks the other is doing harm to the movement. Look, he was hard on the first cut. Based on screenwriter Isa Mazzei’s own experiences as a cam model, the film is neither plainly sex positive nor outright cautionary in its depiction of Alice (Madeline Brewer), an up-and-coming streamer whose account is hacked and stolen by someone appearing to be her doppelgänger. Try and find resurrection, salvation, and some kind of paradise on the other side. Boy, will we be studying those four Trump years for a long time in history books, but it’s really important to keep looking back. Nichols has an easy mastery of pacing and tension, employing a churning sound design (and a pulsing score by David Wingo) that allows moments of occasionally bloody action to arrive with a frightening blast or a deep, quaking rumble of bass, and the film moves with purpose to its final destination. 10. An analog man in a digital world, Cronenberg invests a narrative along the lines of his father David’s eXistenZ and Christopher Nolan’s Inception with psychedelic imagery and jolts of gouging, bone-splitting, unambiguously in-camera body horror that rival anything in modern cinema for tactility and pure outrageousness. Soon after, all that remains of humanity are the passengers of an ultra-equipped, self-sustaining train that suggests Noah’s Arc as a speeding elevated bullet. By clicking “Accept”, you consent to the use of ALL the cookies. A ttempting to divine coherence among films shepherded by various artists via dissimilar methods can be a fool’s errand, but the best horror movies of 2020 were starkly united. It makes no room for eroticism or feelings. Bowen, A Quiet Place, like John Carpenter’s The Thing before it, contributes a strikingly original monster to the genre of horror films focused exclusively on surviving an invasive threat. She liked to shock people. Ryland Walker Knight, Brandon Cronenberg’s Possessor is obsessed with tensions between mind and body, and old and new technologies. This new world with streaming platforms, you’re not as beholden to the risks of theatrical box office revenue. They appeal to anyone who’s ever cared about a toy—one they outgrew, gave away, or painfully left behind somewhere. Bol (Sope Dirisu) is desperate to fit in, ensuring the immigration bureau that he and his family are good people and telling his wife that, in their new surroundings, they’re “born again.” But his wife, Rial (Wunmi Mosaku), doesn’t share his eagerness, as her experiences in England have been almost entirely unpleasant, from the indifference and condescension of their smarmy, burnt-out case worker, Mark (Matt Smith), to the outright xenophobic, such as when three black neighborhood kids mock her and tell her to go back to Africa. Both Garcia and Leyendekker’s films revel in the confusion of fact with fiction, enactment and re-enactment, metaphorical dialogue and theoretical diatribe. Even as Cam gives new meaning to “ghosting” when Alice watches “herself” online, the film’s strengths come from an intimate familiarity with the anxieties that accompany a life predicated on thriving in a gig economy still owned and operated by impenetrable customer service mechanisms and corporate channels of older, sweaty white men. Bowen, More focused on emotion than adventure, Safety Not Guaranteed teases out the possibilities and perils of time travel without embroiling itself in the confusion inherent to the subject. Review: Aaron Lee Tasjan Stakes Out a Distinct Identity on Tasjan! The aesthetic is industrial and modernist, with metal-on-metal percussion and a gloomy pall hanging over everything. “Movies are like haircuts,” David Fincher once quipped. We know, early on, that the law makes no room for the ambiguities, contradictions, or self-destructive propensities of desire. Cam is also one of the first American films to grapple with the realities of being doxed to family and friends, further demonstrating its primary acumen as a check on the social pulse of a particular strain of U.S. conservatism that continues to think about and patrol sex work, and those who participate in it, in even pre-Reichian terms. The allegory becomes a little too literal when an off-camera voice, presumably the filmmaker’s, asks the expert if the infected plants try to infect their neighboring flowers. Fritz Lang’s Metropolis, a visionary depiction of a near-future dystopia, is almost impossible to imagine as a work of prose fiction. And the privilege of trying to get under the skin of a woman like Mamaw taught me a lot about this skewed idea that many of us have about individuals like the Vances. This version of the film still leaves intact some rickety visual effects and doesn’t attempt to impose any further intelligibility on his ambitious saga of post-9/11 paranoia and panic. Seth Wilson. Before Sorkin accepted his award at SFFILM Awards Night, I had a chance to sit down with him via Zoom and discuss what a present-day Abbie Hoffman would look like, the relationship between the leftist firebrand and Tom Hayden, Sorkin’s own relationship with Hayden, and Steven Spielberg’s involvement in The Trial of the Chicago 7. Jaar packs as many dissonant, clanging noises—boiling tea kettles, angry guitar feedback, surging alarm signals—as he can into the music without losing the rhythmic threads he’s teasing through each track. That’s my version of a sequel. Bowen, Before the flourishing digital age paved the way for social-media naval-gazing, YouTube, and selfies galore, The Blair Witch Project foreshadowed the narcissism of a generation, its success unsurprisingly paving the way for an army of imitators that failed to grasp the essence of Daniel Myrick and Eduardo Sánchez’s terrifyingly singular and effortlessly self-reflexive genre exercise. Just when you’ve grown accustomed to a sound or riff, the floor drops out, shifting to another mode and vibe altogether. Cruz Ramirez (Cristela Alonzo) is a welcome addition, a plucky foil to McQueen who’s also a three-dimensional presence in her own right, much more richly developed than one-joke characters like Mater (Larry the Cable Guy) and Luigi (Tony Shalhoub). Through the decades—and subsequent crazes for color and sound, stereoscopy and anamorphosis—since that train threatened to barrel into the front row, there’s never been a time when audiences didn’t clamor for the palpating fingers of fear. It was the day before the Nevada caucuses, at a Vegas rally. You’ve mentioned that Southland Tales, if released today, might make more sense as a limited series or a two-part movie. Played by Mark Duplass with just the right mixture of oblivious eccentricity and simmering hurt, the deft handling of this potentially ridiculous character is one of the many nice touches in this surprisingly poignant comedy. Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial. So that, to me, was what we wanted to do. Keith Watson, For those who waited patiently for the first Pixar film to be led by a female protagonist, it’s understandable that Brave might have been a disappointment, arriving after the studio hit its artistic peak, and suffering from a handful of authorship woes. Necessary cookies are absolutely essential for the website to function properly. Nearly 15 years after it bombed in spectacular fashion at the Cannes Film Festival, Kelly’s sophomore feature, Southland Tales, can finally be seen as originally intended, courtesy of an Arrow Blu-ray release. While Ray hopes for a quick rebound after being recently dumped, Alice can’t even muster a smile as she takes a dozen selfies in the woods. Close discusses coming to understand Mamaw as a person, her views of politics in film, and more. Upon the release of Pixar’s Soul, we’re counting down the animation studio’s 23 films, from worst to best. Arlo is a collection of insecurities that have been calculatedly assembled so as to teach children the usual lessons about bravery, loyalty, and self-sufficiency. But then you find out that she couldn’t pay for her meds that month. Religious, sci-fi, and psychosexual imagery intersect in chaotic, kaleidoscopic visions of personal and global hell, all passing through the shattered mind of the show’s child soldier protagonist. Not in a stinking world like this! In its close-ups on ordinary objects like shoes and seatbelts, shot with the same carnal expectancy as the food, it reappropriates sexual dynamics for a locked-down culture that sees the same domestic objects day in, day out. I definitely didn’t have the budget that I needed on the first two films to do everything I wanted to do in terms of visual effects. I think, I hope, I pray that we keep telling these stories, that people realize that it’s about what unites us as human beings, not what separates us through politics. These great horror films are currently streaming on Netflix. In one timeline, he’s an earthbound schmuck; in the far less likely one, he’s a hero who must save an oppressed people on a faraway planet. By Scott Weinberg. They are, in what amounts to a particularly delicious irony, a “safe space” in which we can explore these otherwise unfathomable facets of our true selves, while yet consoling ourselves with the knowledge that “it’s only a movie.”, At the same time, the genre manages to find fresh and powerful metaphors for where we’re at as a society and how we endure fractious, fearful times. Chuck Bowen, The plot convolutions of Elizabeth Harvest conjoin with director Sebastian Gutierrez’s stylistic bravura—blasts of red and blue in Cale Finot’s cinematography that connote a spiritual as well as physical sense of ultraviolence—to create an incestuous atmosphere that’s reminiscent of the stories of Edgar Allan Poe. It was a lot to digest back then. Indeed, even with characters as severe, abrasive, and sometimes appalling as Mamaw, Close manages to find the truth, compassion, and empathy in them. You do it for your child. We needed to make two big movies to tell the whole story. Unspeakable words, useless words. For, like any great monster movie, this isn’t a film strictly about a monster—or, for that matter, the monstrous countries that spawned it—but about something else: the significance of sustenance. Dan Rubins. Ridley Scott’s Blade Runner, for example, simply mines some of the concepts from Phillip K. Dick’s Do Androids Dream of Electric Sheep? That car is a significant touch: King’s interest in addiction may be dulled here, but his understanding of the apocalyptic fear gripping those with money problems is accorded full prominence. Or are you going to let all the insight you’ve accumulated over the last 15 years guide you? This is a legendary film series in this genre that started in the 90s. The titles below (all presently streaming on Netflix) have shown us utopias, dystopias, distant planets, and our own Earth destroyed. The template turns out to be a natural fit for the Cars universe, organically integrating racing into the fabric of the film and rendering it with a visceral sense of speed, excitement, and struggle. If certain plot points require some fairly significant suspension of disbelief, the film’s vision of a world in which we’re all being manipulated by our cherished products nevertheless rings chillingly true. There’s a moment in Abner Pastoll’s A Good Woman Is Hard to Find that’s more imaginative, and seemingly torn from human experience, than any scene in Sorry We Missed You. Fernando Croce. Horror films released in 2020; Title Director Cast Country Notes Abortifacient: Fatima Hye Bonnie Gayle, Will Burnson, Brian Bogart United States Antebellum: Gerard Bush, Christopher Renz: Janelle Monáe, Marque Richardson, Eric Lange: United States: Alone: Johnny Martin: Tyler Posey, Summer Spiro, Robert Ri'chard, Donald Sutherland: United States Did you bring your own personal quirks to the character? I’m just very cognizant of the fact that a lot of people are going to be watching things at home. So, she just was this larger-than-life character in everyone’s life. Teague beautifully builds to the carnage, allowing us to feel sympathy for Cujo even as he devolves into a monster, emphasizing the heavy heat of the dog’s body as it grows deranged by disease, and, later, the piercing sun as it bakes a mother and son trapped by Cujo in their broken-down car. “I’m glad I persuaded you when you were a mere child to join this terrible profession, this terrifying profession, and, let’s face it, this delicious way to spend your life. Kelly discusses the so-called “Cannes cut” of Southland Tales and his desire to incorporate new material into the film. We use cookies on our website to give you the most relevant experience by remembering your preferences and repeat visits. Do you think that the film’s themes ultimately outweigh the politics in and around it? Some of these depictions are humorous, others haunting. Things weren’t looking good. The greatest pleasures in Agate Mousse come from simply watching the film change registers, digging further into or moving refreshingly away from its core concept: the perverse ecstasy of suffering. Her songs are all bridge—stretches of evolution from one idea or mindset to the next. James resists bringing the story’s subtext to the forefront, in the process imbuing her enigmatic images with a lasting power, turning them into ciphers of broader ideas like abandonment, responsibility, and resentment as they relate to the withering human figure. When the title lyric of “If You Can’t Do It Good, Do It Hard” barges in, it sounds like a mantra for Jaar’s harsher but no less cathartic intentions. Also you got what the Coen brothers did with The Battle of Buster Scruggs and, obviously, Zack Snyder’s cuts of his prior work. My movies have never been particularly audience-friendly, but they’ve aged well with the test of time. He really was, and I’m glad that he was because it was an instance where I implemented every one of his notes and, unsurprisingly, they all worked. As a generic Aussie bloke, Ray is read by everyone he meets as a schmuck, and his painful earnestness and eagerness not to offend results in quite the opposite. 2017 – 2019 finds its creator processing a crisis, while still not leaving the dance floor entirely. At the event, Close’s Hillbilly Elegy co-star Amy Adams presented her with the honor. She explains that when the plant gets sick it communicates to the others, by air or roots, to let them know that there’s an infection nearby. [I emulated how] she sat, held her cigarette, wore her baggy clothes, what her voice was like. For every eviscerated remake or toothless throwback, there’s a startlingly fresh take on the genre’s most time-honored tropes; for every milquetoast PG-13 compromise, there’s a ferocious take-no-prisoners attempt to push the envelope on what we can honestly say about ourselves. As Cujo’s prospective victims, Dee Wallace Stone and Danny Pintauro give performances of such naked, panicked urgency that the viewer feels as if they’re eavesdropping on something privileged and primordially awful. Throughout, there are plenty of hints that something’s up, and the filmmakers excel at crafting an unsettling atmosphere through images of multiple moons in the sky, the daylight that flickers to full-on night and back again, the flocks of birds flying in ring formations, and the fired bullets that are flattened as if by a force field of invisible brick. Forster’s Sheriff Hadley suggests a continuation of the character he played in Twin Peaks: The Return, and Cummings fashions a swan song worthy of the legend. She did tell them that she had her grandson. When you’re writing something ahead of its time like Southland Tales, are you keeping in mind the audiences of the time? Calum Marsh, Director Mike Flanagan’s Before I Wake hints—in flashes—at a remarkably cruel psychodrama, physicalizing one of the worst and most common fears that orphans share: that they’re awful and unlovable, and therefore undeserving of parents. How can we analyze the recent past to make sense of the present tense and even into the future? Tracing Mike and Sulley’s paths from ill-matched peers to super scarers, Monsters University boasts Pixar’s trademark attention to detail (right down to abstract modern sculptures on the quad), and it manages to bring freshness to the underdog tale, which is next to impossible these days.
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