Eventually, she starts hearing noises in the night, hallucinating all over the place, chattering irrationally and breaking into laughter for no reason. If Dylan’s narcissism, and Pennebaker’s giddiness to capture it, suggested a cultural turn toward celebrity worship, then Dillon’s psychopath is the bizarre complement. The ‘70s represented some of horror’s most creative and exciting developments. Titles from Tobe Hooper, George Romero, Wes Craven, Brian De Palma, David Cronenberg, and more are included, along with lower-budget affairs like The Diller Killer and It’s Alive. Coppola, Jones, and Murray capture how such charm is both real and fake, affirming and demoralizing all at once. 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. Horror – when done well – always reflects the era it exists in, and in the ’70s, people were still reeling from the turbulent 1960s, with the Vietnam War very much still a reality. I couldn’t resist the opportunity to start our time by raising a personal connection: Raiff and I both attended small high schools in Texas that played against each other in the same athletic conference. Chaos could’ve opened Before I Wake up, allowing it to breathe, though Flanagan’s beautiful and empathetic film cannot be taken for granted. 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. Campillo is more upfront than Shyamalan—it’s more or less understood that the presence of the living dead in his film is likely metaphoric—and he actually seems willing to plumb the moral oblivion created by the collision of its two worlds. But the torment on display isn’t exactly a one-way street: As relentlessly as What Ever Happened to Baby Jane?
Director Jérome Boivin's film has been critiqued for its dull human characters, but, with a canine performance this good (voiced by Maxime Leroux), his two-legged counterparts can only pale in comparison! This last comparison is also apt in terms of aesthetics, as Helander and cinematographer Mika Orasmaa’s widescreen compositions capture a sense of unsettling scale and unseen terror as well as, in domestic sequences, a warmth and intimacy that helps compensate for somewhat sketchy characters. If I could go back, I think I probably would have been more precious. What I can say is it was, to my knowledge, the last day of shooting. Will Kirsten Dunst ever again approach the pathos she stirred waking up alone on the 50-yard-line? [Be Reel Podcast], ‘Boys State’ Filmmakers On Their ‘Dazed & Confused’ Inspiration [Podcast], ‘The Last Dance’s’ Jason Hehir On Ken Burns, Scottie Pippen & NBA Aggregators [Podcast], 'The Craft: Legacy' Trailer: A New Group Of Teen Witches Takes Over In Zoe Lister-Jones' Sequel, ‘Fireball: Visitors From Darker Worlds’ Trailer: Werner Herzog’s Doc About Mythmaking Arrives In November, ‘Empty Man’: 20th Century Studios Releases First Trailer For New Horror That Comes Out In A Week, ‘Uncle Frank’ Trailer: Paul Bettany & Sophia Lillis Star In ‘American Beauty’ Writer’s Newest Film, Oh My, We Actually Have A Legit Best Picture Race [Contender Countdown], ‘Jagged Little Pill,’ ‘Moulin Rouge,’ ‘Slave Play’ Top Truncated 2020 Tony Awards Nominations, Michelle Pfeiffer Officially Enters A Promising Best Actress Race With ‘French Exit’, Pixar’s ‘Soul’ Moves To Disney+ On Christmas Day.
The audible dynamism gives way to a familiar dose of historical reflection, with an omniscient voiceover telling of a famous 16th-century Spanish watchmaker/alchemist who dreamt of creating a device that could spring eternal life.
Thalberg’s revelation was one of decadence, allowing the audience to luxuriate in those monumental visages all at once, but the film only works because director Edmund Goulding gives his spaces the same power and art-deco glamour as his performers. There are other projects that I’m working on or thinking about where I’m coming at it actually from a larger scale first. Horror omnibus films are a dime a dozen, but few have the pedigree of this 1968 feature. I don’t think of it in binary terms, I don’t think it’s good or it’s bad. Directed by Michael Winner • 1971 • United Kingdom Pennebaker’s 1967 documentary Dont Look Back, Matt Dillon’s serial killer in Lars von Trier’s The House That Jack Built flashes cue cards to the camera while standing in an alleyway. The director has become a tortured lover of myths.
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. Its schematic organization of what Marty McFly (Michael J. Jaime Christley. Question one: Where the hell can I buy an Xbox Series X? 28 Days Later is a tough and uncompromising horror film, but it’s all sunshine and laughter in comparison to the sequel.
How do you convey such a radical notion without coming across naïve?
Where am I supposed to be? And then we played those back to back. Bill Weber, Henri-Georges Clouzot was somehow a realist and expressionist in roughly disconcertingly equal measure.
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