While the film doesn’t entirely stick its murderous finale, no one who hears those scarifying final lines of dialogue will soon forget them. Bi Gan’s art is something completely different. Fritz Lang’s Metropolis, a visionary depiction of a near-future dystopia, is almost impossible to imagine as a work of prose fiction. Ever since his son died years ago at one of the group’s high school parties, Mr. Peterson has held each one of them personally responsible. The content of this site is published by the site owner(s) and is not a statement of advice, opinion, or information pertaining to The Ohio State University. Film Inquiry’s Best Articles Of December 2016. It’s Kubrick’s most prescient work, more astute and unsparing than any of his other films (and he had more where that came from) in putting the bleakest parts of human behavior under the microscope and laughing in disgust. I will simply note just how much his observations opened the film up for me, particularly when I felt a bit at sea with it. These moments cut to the heart of the terror of loss driving Koko-di Koko-da, which is named after a nursery rhyme played by a music box that Maja receives for her birthday, and Nyholm springs another potentially devastating concept that soon locks the film in a holding pattern. 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. Unfortunately for them, Jimmy’s stepfather is one of the Weboys, a family of sadistic North Dakotan brothers under the thumb of their mad matriarch, Blanche (Lesley Manville). The farm’s unnamed patriarch (Michael Zagst) is bedridden with an undisclosed malady. This preoccupation aligns Bertino with another rising American horror auteur, Mike Flanagan, though the former is growing more ruthless and austere with each production while the latter’s recent output is mechanically sentimental. Unable to grab onto anything solid in the present, he dips into his memories with her, flashing back to their days of being wild (circa the turn of the millennium), when her materiality was less unstable. Not in a stinking world like this! Joel rediscovers his love for Clementine through fantasy, which is to say through his clouded memories of her. Now infamous for its over-the-top gore and cheesy effects sequences, The Evil Dead is most impressive for Raimi’s unnerving wide angle work and his uncanny, almost unreal ability to suggest the presence of intangible evil via distant headlights, bleeding light sockets, and, in the film’s most awesome set piece, a simple game of cards. Does the film ask questions or provide answers or both?5. We rank the best new releases of April 2017 in games, movies, music, and... Find a complete guide to TV and movie titles heading to Blu-ray and DVD... Music title data, credits, and images provided by, Movie title data, credits, and poster art provided by. Bi: It was mainly a time when I was testing a few different cameras, to decide which one I would use. The Chinese name of this film “Lu bian ye can” originated from Strugatsky Brothers’ “Roadside Picnic” which was rearranged into “Stalker” by Andrei Tarkovsky. Led by performances imbued with barely concealed sorrow, regret and longing to come to terms with that which has been lost, Kaili Blues affords a view of people, and a nation, caught in between a haunting yesterday and — as implied by the film’s conclusion — a hopeful tomorrow. The literary genre, which originated with a series of 18th-century “woman trapped in a creaky old estate with a questionable aristocrat” novels, has always used women’s justifiable fear of men as the basis for titillating tales. How solid is the line dividing gothic suspense from trauma porn? Arlette is one of countless women who’re damned if they do and if they don’t, yet somehow the men are able to rationalize themselves as the victims. Chen’s senior medical colleague Guanglin had a lover or close friend named Airen from that town. Men on the moon and men spinning around the Earth, and no attention paid to earthly law and order no more!” One could say this was ripped straight from the headlines, only nowadays one could argue there’s no attention paid to anything, be it outer space or earthly matters, just an endless feeding to audiences who have developed a voracious taste for, as Alex would say, “the [good] old ultra-violence.” Kipp, An imaginative expansion of the brisk Philip K. Dick short story, “We Can Remember It for You Wholesale,” this film about fake memories and a real interplanetary crisis now stands redolent with nostalgia, both for its time, as well as for itself. Elin and Tobias are tormented by Maja’s memory in a literal horror-movie fashion, then, as a once joyful artifact is perverted by harbingers of danger. Marsh, Long before Robert Zemeckis re-envisioned the 1960s as the era America gave itself over to stupidity (to the delight of Rush Limbaugh’s dittoheads nationwide), he blasted the 1980s back into the 1950s with Back to the Future. The Weboys aren’t people so much as armed obstacles to the Blackledges’ family reunion: Except for the pungent Blanche and lewd Uncle Bill, played with over-the-top menace by Jeffrey Donovan, the rest of the gang blends together as nondescript thugs. If Bi’s cinema has been clear about anything so far, it’s that he is completely unburdened by narrative cohesion. By car and by foot, Luo follows her, much to her concern, and then loses her, much to his recurrent perplexion. July 11, 2020. While bothered by Crazy Face’s lack of care for his small son, Weiwei (Feiyang Luo), Chen has to tend to his own troubles and reconstitute his life. Jungleland has one moving scene, in which Stanley and Lion’s resentments come to a boil at a pizza parlor, but these characters are otherwise reduced to pawns who’re pushed through increasingly unconvincing genre-film machinations, in a production without a good genre film’s liveliness.
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