Directed by: Kevin Kopacan. With: Anna Platten, Jeff Wilbush, Frederick von Luttichau, Louise Taraz and Robert Nickisch.
Summary:
A couple visits the old mansion they inherited and things get weird.
Last year's festival hit, director Kevin Kopacker 's Don Breaks the Eye is finally coming to streaming services so wider audiences can enjoy its many delights.
The film is essentially a love letter to European Gothic horror films of the 1960s and 1970s. The film follows a couple, Dieter (Frederick von Luttichau) and Magot (Louise Tarz), who travel to an old mansion whose Margot inherited as a wife. Legacy. From my late uncle. The trip makes it clear that their relationship is far from harmonious, as Dieter is strained and Margot is cold, and when the pair arrive they discover that the creepy old house may be hiding something within its walls. Feel that there is a presence surrounding them.
And to say more would be doing the movie a disservice, because what happens after that particular reveal is clearly to be experienced, not read. Dawn Breaks Behind Your Eyes is a film that immerses you in the magnificent gothic atmosphere created by Kevin Kopaza, an obvious reference for the genre, Argento, Bava, etc. – They are more modern. Comparisons include Society (well, thirty years old, but newer than the aforementioned Italian filmmakers' best work), Barbarian Sound Studio , and One Cut of the Dead .
Keep Your Eyes On mimics any of these films, but does something unexpected and deflates the imagination by not relying on a narrative structure, being instead a two-act film that does what it does the best. The first act, where Dieter and Margot's situation is pure Euro-horror, is almost reminiscent of The Accident and the Body of Mario Bava, when Dieter discovers a whip hidden in the basement and begins to repair it. Use it on Margot.
The second act definitely closes the movie and potentially loses the audience expecting a) a European art house movie or b) a haunted house movie, but it's best not to expect that by expecting less. Instead of complete sensory overload, pushing those mysterious buttons and offering whimsical commentary on the nature and relationships of art, the best European genre films of the previous decade were presented with an effortless ease. detached and surreal. The modern eye controls all the chaos.
Breaking Dawn isn't a movie that will be enjoyed by everyone, and it's negative commentary calling for style over substance, but if you lower your expectations, in other words, don't expect horror supernatural nice and enjoyable and let the beauty magic go perfectly 74 minutes of travel time (not a minute more or less) and then rewards you with an unparalleled viewing experience that only requires a physical UHD version. Indeed, let this subtlety shine as much as possible. Here is the hope.
Flashing Myth Rating – Movie: ★★★★★ / Movie: ★★★★
Neighborhood Chris
New Lifetime Movie 2023 🎬🎬🎬 #LMN – Movie 2023 based on a true story
Do you remember the overwhelming joy that filled your heart when you saw this game? What seems perfect to you. Whether it's a Cabbage Patch Kid, a Furby or even Tickle Me Elmo, it doesn't matter if your parents don't understand his cuteness. You are in love with your new boyfriend.
Well, that's what many felt when they first saw M3GAN in a trailer last October where American Girl Doll Gone Wild invaded and hacked and then launched her into an inexplicable yet powerful dance. It gave us goosebumps and won our hearts. But can the real movie behind this crazy trailer live up to the powerful emotions that dance has fueled, both in our souls and on LGBT TikTok? I'm happy to report that the answer is yes.
Keep your wig because a bizarre monster has arrived and he has a better victory than the Babadook.
The killer doll and the creepy children's subgenre collide in Gerard Johnston's ( Housebound ) spicy thriller. After losing her parents in a tragic car accident, nine-year-old Cady (a heartbroken Violet McGraw) is placed in the care of her aunt Gemma (Allison Williams), a workaholic game designer who is completely obsessed with she. Build: M3GAN. (Generative Android Model 3). A charming life-size doll, M3GAN has quickly become a popular craze for newborns and caregivers. To Cady, she is a friend and protector who always has time for her and can never die, unlike her very unreliable and murderous parents! For Gemma, M3GAN is a tireless nanny and a path to great professional success. That is, until he began to suspect that the M3GAN protocols were circumventing Isaac Asimov's first law of collisions.
M3GAN follows in the footsteps of Chucky from Child 's Play and is cute and scary at the same time. There is something excitingly charming about that piercing gaze and the naïve assumption that play can't hurt. But because it looks so realistic, this film has the added appeal of creepy childhood horror. M3GAN appears as Robo Roda, the lovable little serial killer from 1956's The Bad Seed , from his neatly trimmed hair to his casual clothes and creepy smile. We wonder, especially as she begins to impress Cady, what kind of darkness lurks behind this innocent facade?
Johnston embraces this mysterious valley through contrast. Teenage actress and dancer Amy Donald plays the physicist M3GAN, giving her natural grace, but with a tone so subtle it seems childish. Meanwhile, while her hair and dress make her perfect for a photo shoot, the doll's hands are decidedly rubbery, as is her face, which is a constant reminder of the loneliness between her and her dysfunctional human family. Whether you're jamming, practicing handwashing etiquette, staring, or singing the chill-inducing version of "Titanium," M3GAN is both beautiful and brutal because it's unknown. In the blink of an eye, she can be flipping through self-help books about grief, or hunting down a creepy little boy like a bear stalks a poacher who threatens her cubs. After all, she's a star, so who are we not to be dazzled?
Despite its PG-13 rating, Akeelah Cooper's screenplay (with a story by James Wan) is steeped in the angst of adulthood: being a bad parent, stuck with a child you don't want to not have, and struggling to balance the work and life. and fear of success, which reflects nightmares.
Allison Williams (who made her mark on the horror genre with Jordan Peele's Get Out ) firmly establishes human drama in this killer sci-fi dollhouse. With a personality defined by her ambition and action, Gemma struggles when her flamboyant niece needs her attention and a boy doesn't know the difference between toys and collectibles. His concerns with parenting and identity shine through, leaving viewers with goosebumps to get to know him. This demonstrates the ideal setup for M3GAN for tasks such as aphid detection, taking on the role of shoulder to cry on, storyteller, guide and mentor. It's a gift, and a homemade uniform, that works with the millennial pride of rush culture in a mix of complex feelings.
There is incredible excitement at this point in the honeymoon, as Cady happily frolics with her robot friend and Gemma rejoices in her sense of focus, sleep, and time returning to herself. (A parent's dream!) But cracks begin to appear in that shell: a sharp stare here, a quivering silicone lip there, a sarcastic response in a tense moment. And with each we feel that the honeymoon is over. Terror is coming. And with every step towards disaster, we laugh in anticipation. Not that we want to see Gemma destroyed, not necessarily, but perhaps we cringe at the realization of her selfishness, and on some level we long to see her destroyed. (Even, or especially, if we can imagine following in his footsteps.) And besides, M3GAN is a slasher slasher.
Much of the humor in M3GAN feels messy in the best possible way. A small miracle with a titanium core mixes shades with the cold sharpness of a frozen dropper. Kudos to Jenna Davis, whose vocal performance as M3GAN sounds like your talking Barbie slowly starting to despise you. Alongside TikTok dancer Donald, M3gan is a beast of sexy charisma that seems to capture the feelings of Bette Davis and Ice Queen Joan Crawford without the cheesy theatrics.
The image of the infinite woman, together with the third act monologue, reinforces the underlying nuances of the film's bizarre reading, as M3GAN condemns Gemma not only as a bad mother, but also as a capricious partner. There's a kind of heartbreaking madness to this scene, but thanks to Davis' earnestness and Williams' horror, there's also an essence of raw emotion that makes this confrontation not only infuriating, but startling.
satisfying! Don't mistake a PG-13 rating for a red flag. Admittedly, there isn't much blood here compared to the Saw Van films. But the massacre was nevertheless badly damaged by Johnston's clever escalation of the threat. Some of the violence happens off-screen, thanks to a sneaky, choking-inducing outburst. But for little Cady's hated enemies, the showdown will be a scene of torture, though not gory.
The kill scenes are fun, a little scary for disoriented adults on the verge of death. But it is uncertainty that drives them to provide such perverted joy. Johnston patiently creates scenarios, allowing us to confidently immerse ourselves in the carnage to come. This famous dance is a dramatic confirmation of this. Like Michael Myers who relentlessly stalks his victims, M3GAN satisfies us with its calm but firm, if more effective, approach to its doomed victims. Every step in this classic shoe gives you goosebumps.
Look, let's be honest: This movie could have been incredibly silly and probably very funny. But there's more to this killer game/scary movie for kids than meets the eye. With thoughtful character designs brought together from two hit shows, Johnston has created a new horror icon with M3GAN. Like the bomber jackets that have stalked her before, she has a creepy style enhanced by her destructive femininity. Their dance scene isn't just a fleeting moment of unforgettable mayhem, it's part of what sets M3GAN apart; It's a little girl's dream game and a parent's worst nightmare. It's complex, challenging and terrifying!
Furthermore, Williams has created an emotional center in the film that makes viewers interested in the survival of their tormented heroine. Of course, many third-rate characters (rude neighbor, cowardly colleague, sniper leader) are hardly drawn. But spending time developing them takes time away from the real star of the film. Also, in this game they are like dominoes to flip and you don't have to get too attached to them.
In the end, M3GAN came out on top for not only introducing a gripping new slasher to the weird horror sub-genre, but also scaring us deeply before they even existed. Cooper and Johnston have taken a silly concept and destroyed it, just like their awesome Demon Suppression… well, you'll see.
Simply put, if you like horror movies, you should watch M3GAN.
director: Samantha Aldano. With Kelly Murtagh, Erica Ashley, Grelen Bryant Banks, Bobby Gilchrist.
SUMMARY:
A blues singer from New Orleans struggles to hide a worsening eating disorder.
Ivy (Kelly Murtagh) is a beautiful woman living in New Orleans. He dreams of becoming a professional blues singer, plays regularly with his band and shares remarkable chemistry with bandmate Oscar (Bobby Gilchrist). Ivy works hard to look like she has it all figured out, but harbors a terrible secret shame. Ivy has an eating disorder and the wheels start to go off.
Samantha Aldana's directorial debut, Shapeless , is a bleak look at a person dealing with a serious problem. When she's not cleaning or making music, Ivy is mostly alone in her apartment trying not to drink, and when she can't, she's always kneeling in front of the toilet.
In her creative life with her band, Ivy seems to be about to break through, but in her personal life, the walls are closing in and there could be a chance for music, creativity and fulfillment of her dreams, her life. is increasingly characterized by deprivation, failure and shame.
If all of this is depressing enough, it is. Although the film is ostensibly a horror film, Shapeless works best as a dark depiction of life with bulimia. The film has scene after scene of Ivy trying (and failing) to deal with her eating disorder, and Ivy's bulimia seems to follow a pattern of addiction rather than trying to meet realistic beauty standards.
Living as an addict is real work, and Shapeless captures the callousness of Ivy's everyday life very well. Unfortunately, following these events to completion can be difficult.
Some of the problems with Shapeless are probably unrealistic expectations. Aldano tries to weave a body-horror motif into Ivy's cycle of madness and purification, but while the effects are very well done, they never seem particularly revealing, and I never understood what the extra appendages that Ivy attached to her body gifts are, must represent .
There's a scene in Shapeless where Ivy tries to hide the evidence of her cleaning by scooping up a handful of vomit from the toilet, and it's a more gruesome sight than the gruesome genre elements on display. Formless could have been a more effective horror film if it had focused more on the disturbing aspects of life with bulimia, but Aldana's camera often avoids the grim reality of the disease.
If Shapeless doesn't succeed as a horror film, it certainly makes for an impressive calling card for this first-time director. The setting of the New Orleans blues scene is a welcome addition, and Aldano does a good job of maintaining the film's unique (and dark) tone and atmosphere.
Kelly Murtagh also stars in almost every frame in this film, giving a masterful performance as a woman in crisis as Ivy's story takes an increasingly sinister path.
Shapeless is not an effective horror film, but it is an insightful story about a problem that is too easy to hide. A particularly sad blues song, Shapeless can break your heart.
NASHVILLE, Tenn. (WKRN) — The 2022 roller coaster year in theaters is coming to a close.
From highly anticipated sequels like Top Gun: Maverick and Avatar: The Way of Water to new superhero universes like The Batman, 2022 was a year full of anticipation of the known and excitement of the unknown.
As 2022 draws to a close, let's take a look at the latest box office reports.
According to IMDB, these are the highest-grossing films at the domestic box office:
Top scorer: Maverick ($718,732,821)
Black Panther: Wakanda Forever ($433,145,653)
Doctor Strange in the Multiverse of Madness ($411,331,607)
Jurassic World Dominion ($376,009,080)
Minions: Rise of Gru ($369,500,210)
Batman ($369,345,583)
Avatar: Waterway ($358,117,914)
Thor: Love and Thunder ($343,256,830)
Sonic the Hedgehog 2 ($190,872,904)
Black Adam ($167,873,355)
Here are the highest-grossing films in the world:
Top shooter: Maverick ($1.4 billion)
Avatar: The Waterway ($1.1 billion)
Jurassic World Dominion ($1 billion)
Doctor Strange in the Multiverse of Madness ($955,775,804)
Minions: Rise of Gru ($939,433,210)
Black Panther: Wakanda Forever ($808,448,513)
Batman ($770,836,163)
Thor: Love and Thunder ($760,928,081)
Bridge Over Water ($626,571,697)
Moon Man ($460237662)
Characteristic observations
Top Gun: Maverick grossed the most both domestically and internationally, becoming not only the highest-grossing film of 2022, but also the highest-grossing film of Tom Cruise's career.
Credit also has to go to James Cameron's Avatar: The Last Airbender for making $1.1 billion worldwide after hitting theaters just two weeks after its mid-December release. Avatar: The Last Airbender was also the fourth film released after the COVID-19 pandemic to gross over $1 billion, the others being Spider-Man: No Way Home, Top Gun: Maverick and Jurassic World period.
The Marvel Cinematic Universe (MCU) appears to be a very reliable source of revenue, with three films ranking in the top ten national and worldwide grosses. The MCU is currently expected to release three films in 2023: Ant-Man and Ace: Quantum of Solace, Guardians of the Galaxy 3 and The Incredibles.
All top 10 films, both domestic and global, are based on pre-existing intellectual property (IP). Additionally, eight of the top ten films at the box office in the country are direct sequels to previous films.
Black Adam managed to gross $1.67 million domestically despite negative reviews from critics. It's been a tumultuous year for the DC Universe, and no one knows what will happen. James Gunn and Peter Saffron have been appointed as directors of DC Studios following the merger from Warner Bros. and Discovery, and they seem to clean up the director's and creator's previous work; their most notable move so far was confirmation that Henry Cavill was exiting as Superman, as DC's new management hoped to take the character in a new direction.
It seems that the current trend for movies is to adapt a movie title by writing the title followed by a colon followed by a fancy sentence.
What will happen in 2023?
As mentioned above, the MCU is expected to release three films in 2023.
Horror film company Blumhouse Productions is making a film called M3GAN (pronounced "Megan"), in which Allison Williams plays a robotic expert who uses artificial intelligence to develop M3GAN (short for Model 3 Generative Android), a lifelike doll, to become the best child to be. . parents best friend and ally. However, things don't go as planned when Williams' character turns to M3GAN for help for his recently orphaned nephew, who lost his parents in a car accident. M3GAN will be released on January 6th.
John Wick: Chapter 4 was released on March 24. Starring Keanu Reeves, this film appears to continue the complex saga of its deadly namesake.
Super Mario Bros. Movies opens in theaters on April 7 with an ensemble cast that includes Chris Pratt as the voice of Mario. Of course, it would be hard to see Mario voiced by anyone other than Charles Martin, but this film is sure to delight Nintendo fans everywhere.
Indiana Jones and Dial of Fate hits theaters June 30. The fifth installment in the Indiana Jones franchise, Fate Dial will be the first Indiana Jones film not to be directed by Steven Spielberg. Instead, James Mangold, director of Logan and Ford. V. Gerary will take the director's chair. 15 years after the disappointing Indiana Jones and the Kingdom of the Crystal Skull, it's hard to say whether this film will be as good as fans hope. However, the new Indiana Jones film with Harrison Ford is sure to keep moviegoers dreaming.
Director Christopher Nolan returns to the big screen with Oppenheimer. Not much is known about the film except that it involves a nuclear bomb and an ensemble cast. Catch it in theaters on July 21.
What did Oppenheimer put on screen on July 21? Of course none other than Barbie! Very little storyline has been released at this point regarding the Greta Gerwig film arc, but if you need more reasons to check out this film, Margot Robbie and Ryan Gosling star as Barbie and Ken.
Clearly, 2023 seems to have a movie for everyone. See you at the cinema!
Copyright 2022 Nextstar Media Inc. All rights reserved. This material may not be published, transmitted, transcribed or redistributed.
For the latest news, weather, sports and video streaming, head over to WKRN News 2.
In 2022, popcorn and soft drink consumption were plentiful as moviegoers once again flocked to cinemas.
"Top Gun: Maverick," "Black Panther: Wakanda Forever," and "Doctor Strange in the Multiverse of Madness" were all big hits at the box office over the past 12 months, but the film's year was more than several.
Locally owned and operated theaters and cinemas in the greater Columbus area have hosted many thought-provoking and entertaining new releases, including Downton Abbey: A New Era, Don't Worry Darling and The Fablemans.
Movie Rarity: The Art of Columbus Woman Draws Attention to Fake Scorsese Movies
Several long-running local film events have since returned or been rediscovered, and several filmmakers with local connections have shone their names in the spotlight.
A round-up of notable film events in the greater Columbus area in 2022.
The Film/Video Theater at the Wexner Center for the Arts hosts numerous screenings and series throughout February, including the annual Cinema Revival Festival of Restored Films, featuring independent films by African American filmmakers from various eras. Visitors to the Ohio State University campus Center for the Arts include documentary filmmaker Sam Greene, who hosts a retrospective in September and October; and screen legend Coffee and Jackie Brown star Pam Greer in November.
The Drexel Theater in Bexley also rolled out the red carpet for Jesus Christ Superstar actor Ted Neely, who opened Andrew Lloyd Webber's rock musical in September.
After several years of truncated screenings, CAPA's Summer Film Series returns in full force to Ohio theaters, beginning in June with the Robin Williams-Nathan Lane comedy The Birdcage and ending in August with Frank Sinatra's musical High Society. . They range from John Ford's The Grapes of Wrath to the documentary What's Up? By Peter Bogdanovich. There was a screening of classic films. – plus a silent show with Buster Keaton with live organ accompaniment from Clark Wilson.
Raise your glasses: welcome 2023 this New Year's Eve
In 2021, the classic film conference Cinevent ended its decade-long run, but the event reinvented itself in May as the Columbus Film Show , held at the downtown Renaissance Columbus Hotel. Alongside 16mm screenings of rare films, vendors were on hand to sell classic film memorabilia, posters and books.
Released last May was the thriller Private Property , starring Ashley Benson and written and directed by Upper Arlington resident Chad Herbold. Herbold also produced the new film Linoleum , starring Jim Gaffigan, written and directed by fellow Upper Arlington resident Colin West and co-produced by a third Upper Arlington resident, Chad Simpson.
"Linoleum" premiered at Cinema Columbus , a new local film festival held in late April and early May at many of the area's cinemas, including Drexel, Gateway Film Center and Studio 35 Cinemas and Drafthouse.
The Netflix limited series The Devil in Ohio, starring Emily Deschanel as a psychiatrist who takes care of a woman on the run from a satanic cult, is set in Buckeye State but filmed in Canada. The show debuted in September.
Sandler Sings: Adam Sandler will be performing and singing in stadiums across the country in February
Another Central Ohioan, Columbus native Beverly D'Angelo stars in new vacation comedy A Violent Night, which premiered earlier this month. (Of course, D'Angelo is a regular on Christmas television thanks to National Lampoon's Christmas break reruns.
Julia Reichert , the director of the documentary Yellow Springs, who won an Oscar for the film American Factory, died of cancer on December 1 at the age of 76. Richert, a longtime associate of the Wexner Center, is remembered as a friend and mentor. -and filmmakers are coming to central Ohio.
In one of the most poignant scenes in 84-year-old Polish director Jerzy Skolimowski's "Eo," a donkey gets lost in the woods. Night fell, but the pools of the moon lit up this dark, silent world in all its brilliant splendor. A small frog quickly jumped to the surface of the stream. A pretty spider is weaving its web. An owl observes the donkey from its tree, as if registering the presence of the intruder. There are also a few howling wolves, a sentient red fox, and a few green lasers over time, which announce the presence of nearby hunters, whose shots disturb the tranquility of this forest.
The entire sequence tells much of the film's story in miniature. From time to time, this donkey called Eo (an approximation of the sound it makes) will experience a moment of freedom to approach certain people and put them in danger. Whether that's likely to make "EO" sound like a whole lot of brutality isn't certain, though Skolimowski can talk about his decades-old fondness for films like "The Departure" (1967) and "Essential Murder." (2010). . He knows that people can be nice, but they can also be abusive, often with no regard for the rights and welfare of other animals. The beauty that Kolimowski and cinematographer Michel Daem show us in "EO" – and it is perhaps the most beautifully photographed film of the year – is not a denial of this brutality, but rather a answer to this one.
The screen opens to flooded red lights and a resounding passage from Paul Mikitin's orchestral score. In this opening moment, EO is part of a circus performance with a young performer, Cassandra (Sandra Drozymalska), who hugs him, pats his coat, and feeds him carrot cake. Cassandra becomes the love of her life when the man of her dreams and desires breaks up and sends her to the next house. But in addition to the basic compulsions to eat, rest, and walk, Skolimowski attributes the drive, or desire, to it. As the director suggests with frequent close-ups of Eo's big eyes – in an unmistakable and emotional way – there's a limit to what we can get into the donkey's inner life, or even what that we can suggest.
Others, however, are more than happy to speak for him: “Can't you see the animal is in pain? A worker screams in protest that will shatter the circus and send Yu and his four performers running in all directions. The rest of this fast-paced, relentless 86-minute film (Skolimowski wrote it with his wife, Ewa Piaskowska) follows the donkey on its winding journey from Poland to Italy, across mountains and man-made bridges. . Past tunnels and wind turbines and into this haunted forest. At one point, in a brutal shot that seems almost supernatural, a troop of horses are shown galloping alongside Eo's car, their thrilling freedom making his imprisonment agonizingly easy.
Along the way, there are brief stops at a newly opened stable where Yo is gently (but terrified) enthralled by the majestic horses, and a grueling sporting event where he becomes the winning team's humbling mascot. From there, they are taken to a large facility where they are put to bed out of human pity rather than cared for. (Some of his neighbors aren't so lucky.) From there, he wanders off and finds himself in an Italian villa, where the Countess, played by Isabelle Huppert, breaks dishes and gazes seductively at a priest (Lorenzo Zurzolo) . Huppert, I think, has also become something of an icon of great European cinema, the central shadow of which lies in that great film and its preoccupations with the small and the animal (as opposed to the human and the superior).
That's not to say "EO," which won third place from the jury at this year's Cannes Film Festival, has gone unnoticed or unrecognized, though it could easily get lost in the few US theaters where it will screen. . It should be on the big screen. When I first saw "EO" in Cannes, it was somewhat dismissive of life, death and the extraordinary beauty of donkeys, like "Au Hasard Balthazar", the masterpiece by Robert Bresson from 1966. by man, and both are forced to become beasts of burden. , and both testify to all sorts of human horrors and absurdities.
Skolimowski, for his part, recognizes "O. Hussard Balthazar" as an inspiration and a starting point. While the two films share clear sympathies for their respective heroes, the visual and pacing differences are less obvious. Bresson's elegant black-and-white compositions and subtle crossfades are a far cry from Agnieszka Glinska's precise editing, exuberant Dymek photography and vibrant colors, especially the raging strokes of red. (The audacity of the image says a lot for Skolimowski as a painter.) And while Bresson bends complex human drama into the context of “Balthazar,” the people of “Eyo” are interesting characters, but somewhat moving. Their troubles and sufferings – one cries, the other dies – concern us only insofar as they affect EO.
Io plays six donkeys – Hola, Taco, Marita, Ittore, Rocco and Mela – who are brought together through filming and editing into a character we know and love. The intimacy with the camera – the loving attention given to Yeo with a sometimes sad, sometimes excited gaze, raised ears, his soft gray fur and neat roots adorning his neck at one point – feels like a statement. This Love Skolimowski doesn't really try to convey an EO perspective, except for a few shots that suggest a donkey's view, with low angles to the ground and blurry edges. He's more interested in explaining what it's like to be in the presence of an EO, to get close enough to feel you can talk to him, smell his scent, and run your fingers through his fur.
In "EO", the camera doesn't just follow the story or record the action. Its restless, exploratory movements represent a kind of shared awareness, a sense of community between different members of the animal kingdom, working together in the field or sharing the same closed enclosure. The blessing of this film is the expansion of this community to those who pass before the camera whose fates are intertwined with EOs, whether they realize it or not. Finally, this connection extends to the public, especially those of us who go to the movies to shake, move, rock or gently recreate the feel of the universe. The world we share with the OE is cold and cruel, and that doesn't mean we have to be.
Why do movie theaters love this wooden boy so eager to live on flesh and bones? Guillermo del Toro's Pinocchio is the second adaptation of the fairy tale released this year, following Monster Dead and Alive, which premiered on Disney Plus three months ago. But for those looking for more than just nostalgia, this story is a hit in itself.
Carlo Collodi's 1883 novel is a moral warning to Italian peasants: if they don't work hard, they may end up like poor Pinocchio, who was turned into a donkey as punishment for his impulsive nature. But through its many iterations, the puppet boy becomes the exact opposite of Frankenstein's monster, proving that the human ability to create life from inanimate matter can be a source of joy rather than reckless vanity.
Del Toro, the man behind this year'sPan's Labyrinth , The Shape of Water , and Nightmare Alley, has a deep love for monsters of all races. With Mark Gustafson who plays Fantastic Mr.Fox Animation Supervisor Wes Anderson Del Toro takes poetry literally and creates some of the most beautiful stop-motion animation in years.
There's a beautiful artistic quality in the moonlight filtering through a skylight, or in the raging waves crashing against a lush mass of monstrous sea creatures. The figures here have the same rough, cropped appearance as Geppetto's cuckoo clock figures, although their clenched jaws and pursed lips give a real sense of the muscles under their skin.
Aside from Del Toro's fascination with Pinocchio's inherent evil and the intricate masterpieces he creates, there's little here to tie him to Collodi's original story. But the film is richer. The director, along with co-writer Patrick McHale, returns to one of his most prominent themes: deeply dehumanized fascism and rigid notions of conformity and masculinity. But this time it's a musical with an elegant mask from the Alexandre Desplat box.
Adapted as a story about Mussolini's Italy in the 1930s, Geppetto (David Bradley) drunkenly carves out Pinocchio (Gregory Mann) in a blind rage at his fate after losing his beloved son Carlo under the darkest of circumstances. Inspired by an illustration by Gris Grimley from Kollodis' 2002 novel, this Pinocchio is very wobbly, Del Toro is very untidy – all the joints are broken and the nails are exposed.
The Blue Fairy that gave him feelings now appears as a mountain spirit (voiced by Tilda Swinton). Her older sister (also Swinton), who rules the underworld, is a sphinx-like creature served by a small band of zombie rabbits. Even Pinocchio's leader and conscience, poor writer-turned-poor Sebastian J. Cricket (Ewan McGregor) (with hints of McGregor's Moulin Rouge ) cannot see his continued misery as a commentary on the intellectual flogging of an authoritarian regime.
That may seem like a lot for a film still (to some degree) aimed at children, but Del Toro and McHale's openness on the subject speaks directly to the power of childlike innocence. Pinocchio is only classified as a loner because he doesn't know the cruel stupidity of adult society. A fascist city official (Ron Perlman) doesn't turn the boys into donkeys, but sends them to a youth camp to play war. In unconscious rebellion, the recruits laugh at the futility of their game. It may not be Collodi's invention, but it is a sign that the enduring power of his stories stems directly from his versatility. The wooden boy belongs to whoever woke him up.
Directed by Guillermo del Toro, Mark Gustafson. Cast: Ewan McGregor, David Bradley, Gregory Mann, Ron Perlman, Finn Wolfhard, Cate Blanchett, Christoph Waltz, Tilda Swinton. PG, 117 min.
Pinocchio Guillermo del Toro is now streaming on Netflix
The National Board of Review named Top Gun the best film of 2022. Maverick
The sequel, starring Tom Cruise, also won the award for outstanding film.
More from The Hollywood Reporter
Inisheri's Banshee won three major awards, including Best Actor (Colin Farrell), Best Supporting Actor (Brendan Gleeson) and Best Original Screenplay for Martin McDonagh.
Steven Spielberg won Best Director for Fables , while Gabrielle Labelle won for Excellent Performance along with Tales star Daniel Deadwiller.
Michelle Yeoh was also named Best Actress for her performance in Everything and Everywhere , while Janelle Monáe was named Best Supporting Actress for her performance in The Knife and the Glass Bow .
All Quiet on the Western Front by Edward Berger, Leslie Patterson and Jan Stokel won Best Adapted Screenplay.
Shell Marseille in Boots won Best Animated Film, Closeness won Best International Film; "Dad " about the father of Robert Downey Jr. – the best documentary; And the prize for the best ensemble went to Nari Katha Perera .
Top Gun! Maverick is an addictive game, masterfully crafted at every level,” said NBR President Annie Schulhoff. “Tom Cruise, Joseph Kaczynski and the entire team of cinematographers were able to create an incredibly popular film that brought audiences back to theaters. and was a complete cinematic achievement."
Film lovers, professionals, scientists, filmmakers and students vote for the organization's awards.
NBR has a controversial reputation as an Oscar forecaster. His best film last year was Licorice Pizza , which earned him three Oscar nominations, including Best Picture. In 2020, his best film was The Five Bloods , which received only one Oscar nomination, and in 2019, NBR chose The Irishman , which received several Oscar nominations but did not win. Previous NBR Best Picture winners have included Green Book (2018), The Post (2017), Manchester by the Sea (2016) and Mad Max. Fury Road (2015).
This year's NBR winners will be honored at an awards ceremony hosted by NBC News' Willie Geist on Sunday, January 8 at Cipriani 42nd Street in New York City.
Below is the full list of this year's winners.
Choice Movie: Top Gun. Maverick:
Best Director: Steven Spielberg (The Fabulous Man)
Best Actor: Colin Farrell, Flute Inisheri
Best Actress: Michelle Yeoh , "Everything, Everywhere, At Once"
Best Supporting Actor: Brendan Gleeson , Banshee Inisheri
Best Supporting Actress: Janelle Monáe , Glass Bow Mystery of the knife
Best Original Screenplay: Martin McDonagh, Banshee of Inishrain
Best Adapted Screenplay: Edward Berger, Leslie Patterson, Jan Stockel, First Silence on the Western Front
Incredible performance. Even Daniel Didwyler
Incredible performance. Gabriel Labelle, Fablemans
Best Directorial Debut: Charlotte Wells, Afterson
Best Animated Film: Marceline Kite in Boots
Best International Film: Off
Best Documentary: Fr.
Best Ensemble: Women Speak Out
Outstanding Achievement in Cinematography. Claudio Miranda, Top Shooter. Maverick:
NBR Free Speech Award.
All beauty and blood
Argentina, 1985
Best films (in alphabetical order):
after the sun
Avatar: Waterways
Anisherin by Inisherin
everywhere and at once
Proverbs
Glass bow. Spinal defragmentation
$$$$
at the moment
royal woman
woman speaking
Top 5 international films (in alphabetical order):
All is calm on the Western Front
Argentina, 1985
The decision to leave
Eo:
Saint Omar
Top 5 documentaries (in alphabetical order):
All beauty and blood
It's all breath
descending
Turn Every Page – The Adventures of Robert Carew and Robert Gottlieb
wild cat
Top 10 Independent Films (in alphabetical order):
time of armageddon
Emily the criminal
eternal daughter
funny page
verify
life
Love songs
nanny
Wonderland
Leslie
the best reporter in hollywood
To learn more about these stories, follow us on MSN by clicking the button at the top of this page.
Click here to read the full article.
Jerry Bruckheimer talks to GQ about his most famous films:
The new Netflix movie Troll is a fantasy action movie based on Norwegian folklore. The action took place in a beautiful mountain area in Dover, Norway.
Nora Tiedeman and her father, Tobias Tiedeman, are climbing mountains when he says there are trolls who live in the mountains, but you can only see them if you believe. Many years later, something huge appeared from the mountain, leaving huge footprints and terrorizing the nearby towns.
The Norwegian government is trying to control the animal, but their tactics are making the situation worse. Nora and her father are the only people who understand the trolls, and she is forced to come up with a plan to help.
The film is directed by Ror Uthang. He was born in Norway in 1973. After studying at a film school, he started making his own films. In the year In 2018, he became famous for directing the movie "Grave Robber". "The idea of making a film about trolls came to me 20 years ago," Uthang said in an interview on WaterOnAir's YouTube channel. It was inspired by movies like Godzilla and King Kong. In that interview, the troll also stated that he thought he had won the battle with King Kong.
The film has done a good job of making the viewer identify with the characters within a short period of time. Within the first few minutes, you can already feel the connection between Nora, played by Wayne Mer Willman, and her father, Tobias, played by Gard B. Eidsvold. Their knowledge of Norwegian folklore. Although his story is told in one short scene, you can even feel a connection with the troll.
If you're a fan of King Kong, Godzilla, or any movie where a giant creature finds its way into the unknown, you'll be a fan of this one. The CGI was great. He believes that everything happens naturally.
I've always been a fan of Norway's Trollhunter since 2010 and it was pretty much the same. Will definitely see it again.
The Troll director revealed Hollywood doesn’t have a monopoly on creative details
Long before I was old enough to dive into JR. Tolkien, Lord Dunsany, Robert E. Howard and Fritz Lieber, I have experience writing fantasy.
Like most children, I was first introduced to literature that contained the supernatural and fantastic in the form of traditional fairy tales. Bedtime Stories grew primarily from Whitman Classics’ 1971 hardcover book Famous Tales, which as a modern advertisement was available free with the purchase of a Folgers coffee. This collection includes stories like Jack the Ripper, Elves and the Shoemaker, Tom Thumb, The Bearded King, Gretel the Wise, Bearskin, and Rumplestiltskin.
Another bedtime favorite was Whitman’s version of Billy the Raw’s Three Goats.
In Three Billy Goats’ Grove, three goats must escape a wild and angry ride, cross a bridge and reach a pasture where they graze. I doubt that the children’s version, which reaches modern readers through George Webb Dassant’s translation of Some Norske Folkeventir, published as a Norse folk tale in 1859, provides sufficient background information on this tale. Two collectors of fairy tales inspired by the Brothers Grimm. The Norwegian fairy tale “The Three Billy Goats” or “De tre bukkene Bruse” is part of legends, myths and legends that have been handed down over the centuries.
Trolls are an integral part of Scandinavian mythology. Said to live in remote mountains or caves, they are considered hostile, weak, and strong. Some northern rock formations are believed to be frozen trolls, as some legends have it that trolls turn to stone when exposed to sunlight.
The iconic features of this legendary race also resonate with modern audiences. In addition to Tolkien’s works, trolls can be found in Catherine Patterson’s 1977 novel Bridge to Terabithia and in films such as Boxtrolls, Frozen, Charmed and Trolls.
The Norwegian monster film Troll, directed and written by Roar Utag, takes a different approach to using these mythical creatures. Trolls launches on Netflix December 1st.
The film opens with a beautiful scene of a father and daughter on a mountaintop, proving that reality and fantasy can only be separated by our willingness to believe the unbelievable.
20 years after that short but thrilling flight, paleontologist Nora Tiedeman (Ine Marie Willman) is appointed by the Norwegian government to lead a research team in a fjord excavating a giant, real-life dinosaur skeleton. . Workers who suddenly released something while constructing a new railway tunnel deep in the Dover Mountains in south-central Norway. Prime Minister Berit Moberg (Anneke von der Lippe) goes to work to control the lime farming fiasco after hearing the opinions of various scholars. Despite the growing number of giant footprints like on land, no one can pronounce the word “troll” yet.
Luckily, Nora’s father, who viewers last saw in that exciting opening scene, is transformed into a “shy scientist with an incredible understanding of what’s going on.” We’ve seen this guy in genre films and once in a 9 year old original X-Files series.
When Nora confers with her father Tobias (Gard B. Eidsvold), he immediately recognizes the angry creature as Rad. The viewer is not surprised, as Tobias lives in a remote cabin filled with books, documents and sketches of trolls.
“Troll” Utaga mostly borrows from films of other genres. The monster is half King Kong, half Godzilla, half T-Rex. The creature’s appearance is somewhat reminiscent of the two dueling ogres from the 1966 kaiju cult classic Gargantua War, directed by Ishiro Honda.
Nora’s quest to find the creature involves Andreas Isakson (Kim Falk), the only person willing to believe the unbelievable, and Captain Kristoffer Holm (Mads Sjögaard Petersen), a member of the Norwegian Army willing to disobey orders. Nora hits him even though she only met him 10 minutes ago.
While the troll may not be smart enough to spot narrative inconsistencies, obvious clichés, and loopholes, it’s still a lot of fun. Understandably, Utag doesn’t expect his audience to take this film seriously. However, Hollywood wants to show audiences that it doesn’t have a monopoly on creature functions. Troll is every bit as fun as any of Legendary Pictures’ recent MonsterVerse films.
Trolls will likely appeal to anyone who appreciates a strong modern take on an ancient folk tale. Kaiju moviegoers; and those who appreciate new interpretations of genres that have been dominated by American filmmakers for decades. The graphics are superb, the acting is top-notch, and the story is driven by graphics, humor, and suspense. Be sure to check out the mid-credits scene that sets the stage for the next one.
And if you’re looking for another dual creature movie, check out 2010’s Norwegian dark fantasy Trollhunter. Written and directed by André Øvredal, this cartoon has become a cult classic.
Lee Clark Zump is editor of Tampa Bay Entertainment Journal and author of short stories that have appeared in select stories and magazines. Follow Lee at www.patreon.com/Haunter_of_the_Bijou.
Troll Review | : Troll (2022) movie review |: Netflix | : Netflix Trolls Review | : Faheem Taj
