In Feature Film, South Korean director Hong Sang-soo explores his creative process, fraught with doubt and uncertainty, through the titular novelist who seems unable to write but wants to make films.
Novelist Junhee (Lee Hae-jung) who travels outside Seoul to visit an old classmate (Seo Yong-hwa) who has also given up writing and now runs a bookstore in a sleepy town.
While investigating, she meets a director (Kwon Hye-hyo) who once rejected one of her novels and tries to blame investor and retired K-movie star Kilso (Kim Min-hee).
Like the entire film, this encounter is a natural in script, setting and acting.
Hong uses one or two photos in each scene, then moves on to the next location and conversation. The black-and-white approach and choice make the feature film look realistic, as if we were standing in the room watching each scene, and one step away from color reality.
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Similarly, the script is naturalistic in terms of self-awareness and is subtly filled with thoughts about the deep nature and uncertainty of the artist and his creative process. He cleverly got Hong Joonhee to talk about how to write the script for his first movie, “Fertile The acting is as realistic and natural as the cinematography and script, with Lee describing the charismatic novelist as a proud “star” with modest insecurities. And Ki Joo-bong is hilarious as a drunken poet who suddenly shows up at a bookstore and discovers something about Junhee’s past.
Moving from place to place and encounter to encounter first reminded me of Richard Linklater’s film The Sloth, which explored bohemian Austin 22 years ago through barely connected scenes.
But this movie is a comedy and definitely not a “fictional movie”. Instead, it’s a quiet gem telling Junhee’s story that offers a rare and candid look into the creator’s creative process.
Contact the author at 402-473-7244 or [email protected]. On Twitter @KentWolgamott
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Linval Joseph knows that being the big man in defense means he has fewer opportunities to eat.
But it’s a role the nose tackle veteran has long embraced.
“My job is to break the branch and let others pick the fruit,” Joseph said. But sometimes they drop fruit on the ground and when they do, you have to pick it yourself. So I’ve done that my whole career and it’s worked really well for me.
“Being selfless and being a team player is what got me here. I’m going to give it my all and I’d love to get another [Super Bowl] ring.”
He can still reach those extremes as the Eagles signed the 34-year-old, 6-foot-4, 335-pound player to a one-year contract on Wednesday. And maybe it helps to put another ring — Joseph won his first in 2012 with the New York Giants — on his hands and arms.
With starter Jordan Davis out for at least two more games and the Eagles’ defensive scheme in cap-to-nose tackle space, Joseph got the call from general manager Howie Roseman after spending the first few months at home. .
“He fits into what we’re doing and I’m thinking about how he wants to play and what he wants to do, and I think that’s going to help us,” defensive coordinator Jonathan Gannon said.
Ganon first met Joseph while they were with the Vikings. But last season with the Chargers, they played on the same front as the Eagles, which made the acquisition almost a no-brainer. For the Colts 4-5-1 on Sunday, Joseph should have little trouble getting in the nose and added a gap to the five-try pack.
“There’s not much difference,” Joseph said of the signs. “It’s just different names and callings.”
With Jonathan Taylor rushing, Indianapolis will inevitably test the run defense behind Texas, and the leaders have averaged 160 yards against the Eagles over the past two weeks. Joseph’s move—and a day later, Ndamukong Suh’s defensive move—was a direct response to these struggles.
Colt Jonathan Taylor has a “non-stop” mentality that started at Salem High School.
Roseman spent the next two months bolstering Gannon’s front line against opponents who were among the NFL’s best offenses. Behind Taylor, the Eagles will face the following challenges: Packers Aaron Jones and AJ Dillon, Derrick Henry of the Titans, Saquon Barkley of the Giants, Justin Fields of the Bears and Ezekiel Elliott and Tony Pollard of the Cowboys.
“They’re all good players,” Fletcher-Cox said Wednesday. “We respect all these guys. But we have to solve our problems first. Plan, I think we are good, we have great players and we believe in everyone here.”
However, 35-year-old Suh came out of retirement the next day.
More than anything, the additions to the former Pro Bowl’s inside line allow Gannon to use his system, which relies on keeping boxes light, allowing him to get shared safety coverage. And the center position, although it only gets 40% of snaps and often registers few catches, is a nose tackle.
While that might make defending a bit easier – Gannon has a lot of different fronts and covers that focus on different players – if Joseph or Davis are doing their thing, everything should be in place.
Just ask Eagles center Jason Kelsey, who, like Joseph, has been stuffing his nose for years.
“When we play five fronts, you have a nose tackle in the middle and you have five guys covering the five forwards, it’s hard for guys to advance in the secondary now.” Kelsey said. “And that’s regardless of the size of the person, but I think the bigger the nose guard the more useful it can be.”
Size is essential. Marlon Tupoloto played against Washington, but at 6-2 and 307 pounds he lacked the reach and passion of Davis, at 6-6 and 336 pounds. Tuipulutu’s knee injury created a spot on the roster, but the Eagles had an understanding for Joseph.
Gannon said he has aggressive calls in his scheme — scans, stunts, interval interceptions — that he can use against more likely offenses. But he doesn’t want to cut the coverage and go overboard with the big shows.
“I think you don’t want teams working with you all day. When you say that, you know there are pressures and strengths in every call,” he said Thursday. “I always say the quickest way to give up a lot of points is to get the ball over your head. Now when the attack adapts, we have to adapt.”
Over the past 10 years, with the explosion of passing and rules designed to support offenses and favor great quarterbacks, NFL defenses have begun to transition to more coverage-oriented programs. Vic Fangio is a hot ticket, and about a dozen teams, including the Eagles, get a version of him.
Quarterbacks now have to catch punts that often go low, and the league average of 11 yards per completion is the lowest since 1933, according to ESPN. His average of 4.5 yards per carry, meanwhile, is the highest in NFL history.
The growing number of quarterbacks played a role in the early success, but the NFL average of 21.8 points is the lowest in 13 years. Defenses win offensive battles because when given a choice, Gannon and his people would rather take their chances on long journeys than rush them.
In Jonathan Gannon, Vic Fangio hit the pass defense with the EaglesBut that doesn’t mean the Eagles want to endure another lousy 66-33 possession streak that kept Washington from an explosive attack on defense. But for how many crimes will fleeing Washington be so tolerant?
“The team is 8-1,” new Colts head coach Jeff said Saturday. They are doing something,” he said. Impact games. And they did a good job of stopping teams, switching and not dropping points.
The Chiefs had an impressive 21 third downs, and while most of them were 4 yards or less, giving them more scrimmage options, three of their conversion passes were 5 yards or more.
Eagles-Commanders: Opponents struggle to prove they can stop Jonathan Gannon
The Eagles’ problem wasn’t just the run. And the nose job wasn’t the only problem they had stopping the ride. It takes 11 times in defense and there have been breakdowns in other places.
But having an average big body that can show off those A-spots is a luxury that can’t be defended. High-nosed tackles are natural desires and the Eagles drafted one in the first round in April and just delivered one of their best in the past decade.
How long did Giuseppe stay on the boat? Judging by his filmography from last season, Davis should have more than enough to recover and play less.
above half
With any unsigned veteran, the main question is often why? Joseph played well last season but missed games with a shoulder injury and played with elbow pain.
“I played about half the season last year,” Joseph said. Even though I was injured, I felt like I was on top form. It’s something for me that most people don’t do: I can play badly.
Joseph’s final five games of the season were cut short after he returned from a shoulder injury and spent two games out with Covid-19. But he kept the show going, especially when he lined up in the middle and ate a block. Here is Joseph (#98) charging the invaders in the finale.
Joseph said he had off-season surgery to clean out his elbow and was 100% healthy to start training camp. He said he had offers but wanted to keep the situation correct, which means playing for the opposition.
The Chargers opened 8-5 last season but have lost three of their last four games. They gave up 34 or more points in a loss. Their rushing defense was a constant problem all season and they finished 30th in yards allowed per game (138.9) and 28 yards per game (4.64).
I don’t want to justify. “We’re not done,” said Eagles quarterback Keizer White, who played for the Chargers last season. “I don’t think we all agree when we should.”
Joseph did his double duty, like hitting the nose of five coins and freeing the others to stand.
As with any variable, treating the nose only prevents it from going to the center. Kelsey (#62) is a potential Hall of Famer, but when he’s going through a tough time, he often turns to big tackles. It’s not alone.
Joseph probably had his best game of 2021 with the Eagles. He had nine hits for the team, seven of which were runs.
“It’s definitely a tough game for me,” Kelsey said. “He’s not only a great man, but also very talented… He picks things up quickly – form, where his back is. He’s good at reading attacking players.
Joseph made a quick jump on the play below, but even a straight leg couldn’t stop Jordan Howard from landing.
your way
Early in his career, Joseph played mostly four-base defense with the Giants. It wasn’t until he went to the Vikings that he started to line up more on the nose, especially in the center of the shadow.
When you are in the middle, there is no other attacker to block you. But when following a technique, you may find yourself one-on-one with a guard depending on the task. Joseph was a handful for Jack Driscoll (#63) last year.
“He’s not just a fat, skinny guy,” Driscoll said. “He’s fast, if you run too far you’ll miss him.
Even Joseph admitted he wasn’t who he was five or six years ago when he went to the Pro Bowls. The Pro Football Focus player ranking should be taken lightly, but he finished 82nd out of 129 defenses last season.
Here he was up against Zack Martin (#70) of the Cowboys, arguably the NFL’s best goaltender.
Joseph, to his credit, followed the race to the finish.
“Play hard. I remember that from last year,” Driscoll said. “Rise until the whistle.”
4 below
Joseph – along with Cox, Javon Hargrave and Milton Williams, and now Sue – is unlikely to line up often in the Eagles’ wide-open passing quartet. But Gannon calls it a time out and Joseph’s goal will generally be the same in all five tries: eat sticks.
But available with just four cylinders, O-Linens have plenty of room to take their performance to the next level. White (#44) is good against the run, but most linebackers struggle to get out of a well-organized blocking zone.
in no hurry
The offense sometimes ran off, especially with a 5-2 lead. Sometimes Ganon wants to avoid 5-2 because of this and likes to go 5-1 while still having five defenders. Joseph hasn’t had many rushing opportunities for the Chargers, but if picked, he could run up center to the quarterback’s knees.
He can be fast with quick shots and also on the ground. He said he was 19 mph in several Chargers practices against the Eagles last season. In 2018, he returned a 64-yard punt in the Vikings’ win over the Eagles.
“I think so,” Joseph said. I am a world class athlete. I am fast. I am strong. I am blessed. “
Joseph made a few rushing attempts on the third-and-long, but recorded 16 pressures a year ago and even Ravens quarterback Lamar Jackson did it.
Joseph said he felt better than he had in three years. He is famous for taking multiple daily trips on the treadmill to keep his big man in shape. But it may take a few weeks to get into shape.
“You have to play football to be fit,” Joseph said.
Davis, with a sprained ankle, can remain injury-free for the Eagles’ Dec. 4 game against the Titans. It can also take some time to regain footballing form. He is expected to take on the titular role, but he could benefit from practicing alongside Sufi.
“The boy is going to be special,” Joseph said of Davis. “I think it will be long after he’s finished.”
Meanwhile, the Eagles should enjoy the fruits of their labor.
The Inquisitor reached out to reporters EJ Smith and Josh Tolentino for a squad preview for the Eagles’ Week 11 game against the Indianapolis Colts. Watch atInquirer.com/EaglesGameday
Going Number One: My Movie Life and Other Entertainment by Steve Martin with Harry Bliss (Celadon):
Between the covers of this amazingly accurate memorabilia are comic strips drawn from the life of comedian Steve Martin, drawn by cartoonist Harry Bliss. The book is fun and innocent, but ultimately unsatisfying.
It’s a compelling concept: Martin had his first starring role in The Jerk (1979) and revisited it in more than 40 films. But the decision to tell only ten stories from them and skip the rest is disappointing.
Bliss’s graphics feel more like an addition to a standard notebook than an indulgence. More than half of the pages are one-photo cartoons under the title “Other Entertainment”. At least they should laugh enough to complete their mission.
In fact, the funniest moments in Martin’s memoir come from other people. One day her mother called and said, “Last weekend some of our friends went to the movies and couldn’t get anywhere, so they went to see your movie and they loved it!” Director Mike Nichols sums up Martin’s filmmaking: “You always aim low. Actor Michael Caine realized early on who made the real money in Hollywood: actors decorating their homes with their pictures. Van Gogh and Monet were on the walls of the productions.
That’s right – The Number One Walkthrough isn’t without humor, wit, or Martin’s hilarious biography, but it lacks depth. The closest is “I’ve done more than 40 movies and I can’t hold my breath, and here’s why: I thought I had to do 40 movies to get five good movies.”
We welcome at least one hint of personal and popular triumphs such as Roxanne (1987). These are Martin’s thoughts on the violent musical Penny from Heaven (1981). Fans may wonder why Martin directed 2000s favorites The Pink Panther and A Dozen on the cheap instead of writing an original screenplay for the over-the-top comedy Bowfinger (1999). If someone decided to write a sarcastic summary, they might say, “Lesson number one was the funniest 35 minutes of my life this week. I want to be 45.”
___
Douglas K. Daniels is the author of Anne Bancroft: A Life (University of Kentucky Press).
Mom put the camera down and saw why she was always tired.
The end comes from the beginning: fast, expected, wonderful. King T’Challa, the black panther of Wakanda, is terminally ill, and his brilliant scientist, Shuri’s sister (the powerful Letitia Wright), are working desperately to find a cure. The clock is ticking and the cameras are racing, but as you’d expect, there’s no suspense in the suspense; T’Challa soon dies, leaving his daughter and queen mother Ramonda (Angela Bassett) to mourn with his people. The fact that we’ll never see a flashback of T’Challa’s face – the face of the late Chadwick Boseman – makes these early moments feel final, an absence that resonates beyond the parameters of fiction. We share the heroes’ destruction, but not their shock. Unlike them, we have time to prepare.
Filmmakers too, of course. And the black panther? Director Ryan Coogler’s wisdom, wit and insight are more evident in the first few scenes of “Wakanda Forever”. He wants to honor Boseman’s memory without taking advantage of it, and he knows he doesn’t have to work hard to earn our tears. He also knows that every ending is real, both as a narrative possibility and as a philosophical principle.So even as he leads us on a silent journey through the streets of Wakanda and through a series of splendid funeral ceremonies, Coogler maintains his pace, swiftly sending the troubled Empire into a state of alert. There are already new adventures on the horizon and yes, new opportunities for heartbreak.
The story told by Coogler is disappointing and strange, sometimes touching but unavoidably dark. When diplomacy fails, secrets are exchanged, and forces clash on land and sea, one never forgets that we are witnessing not only intense narratives, but flawed problem solving. Shortly after Boseman’s death in 2020, speculation mounted over the fate of the long-awaited Black Panther sequel to 2018, one of the most commercially and culturally significant blockbusters of all time. Will T’Challa change? Will this digitally-built spooky version of the character Boseman survive another day’s battle? This option was rejected along with Black Panther. “Wakanda Forever” is now completely different from what its creators imagined. Entertainment and elegy, tragedy blurred on and off screen, a story twisted and twisted. glorified. through previously unimaginable losses.
And why not? The strength of Coogler’s first Black Panther film, which made it a unique oasis of emotion, meaning, and political imagination in the Marvel Cinematic Universe, lies in its refusal to shy away from real contact, grief, and pain. Here’s a comic fantasy at once hopeless and utopian, rooted in offbeat superhero mythology (first created in the ’60s by Stan Lee and Jack Kirby) that serves to widen the circle of public awareness, not to diminish. The technologically advanced, Vibranium-enriched kingdom of Wakanda evolved into what New Yorker Jelani Cobb dubs “counter-redemption mythology,” as an overbearing corrective to white colonization of the African continent, if it happened in a strategically remote area. ongoing struggle for black liberation around the world.
Black Panther ends with Wakanda agreeing to lower the isolation shield and rejoin the international community. As the new film opens, the kingdom is witnessing the fun thanks to a worldwide hunger for vibranium, the almighty metal that fueled Wakanda’s techno dominance. There is undeniably something seductive about the idea of a nation that never knew the threat of colonization or conquest suddenly loomed on all sides, its position further threatened by the loss of its most prized son. Even more resonant is the character of Ramonda, played by Bassett with underlying fear and overwhelming anger, who bears the full brunt of her moral authority as she steps fearlessly into transgression.
Ramonda’s presence on the throne of Wakandan, with Shuri as her closest companion, builds on the feminist foundations built on the previous film. For all of his fatherly Sturm und Drang (including electric villain Michael B. Jordan as Erik Killmonger), the early Black Panther enjoyed the power of its warriors and female lead, all in full force and in some cases with important reinforcements. There’s a great opening display of spearmen from Dora Milaje, led once again by the powerful Okoye (impressive Danai Gurira) and a newly recruited shocktrooper from Aneka (“I Can Destroy You” Michaela Coel). Also in the mix is Riri (Dominic Thorne), a 19-year-old tech geek who, like Icarus, gets up and races and cracks intelligently like someone who is clearly poised for a future Marvel release.
While Riri’s witty energy brings a welcome initial shock in the process, the character feels all the more like an afterthought, especially when Coogler and his co-writer Joe Robert Cole make a paradigm shift. Enter Namor (the charismatic Tenoch Huerta), ruler of an Atlantis-like underwater kingdom called Talokan, which like Wakanda is backed by Vibranium and until recently a closely guarded secret. A seductive bronze-breasted demigod, Namor has pointed elven ears and winged feet reminiscent of the Greek god Hermes, but this little-known DC Comics predecessor Aquaman was actually (literally, given his homeland) an ancient Mayan community. . Traces of this heritage can be found in hieroglyphs carved into the Talokan rock caves, as well as on Namor’s feathered headgear and intricate jewelry. (This is less clear on the subject, whose bluish skin and fishy grin are reminiscent of James Cameron’s next Avatar: The Last Airbender.)
The clash between the powerful African empire and its Mesoamerican counterparts, the Wakandan and Talokan powers, introduces exciting new cultural and mythological dynamics and raises all sorts of thorny questions about race and alliances between Blacks, Natives and Latinos; is of American descent. (It also opened up a whole new world of aesthetic possibilities for costume designer Ruth E. Carter, set designer Hannah Bichler, and composer Ludwig Göransson, all of whom brilliantly expanded their Oscar-winning contribution to the first Black Panther.) Less exciting. The clash prompts a lot of action as well, and like almost every Marvel movie, many of the fight scenes that are choreographed are arguably the film’s most ancient, lack any real inner punch and hit a dead end, especially in film. Apogee, cross with too much madness. – choppy.
It tells us that the first Black Panther and its messy sequels, while rarely lacking in interest, are at their best when they ignore, or even neglect, their franchise obligations. (The film falls apart as it moves from Wakanda and Talokan to various CIA conspiracies, which I won’t divulge, not because of spoilers but because they’re too boring to put into words.) Sometimes a sacred and perhaps insane question. Should Wakanda Forever Be A Superhero Movie? It can be seen that someone will inherit the T’Challa suit, take on the Black Panther cloak and will most likely replace him in the next installment of the endless MCU series. The season passes without much satisfaction, mainly because the anointing of other Wakandan characters ultimately goes against the film’s democratic spirit.
One of the reasons Boseman is such a great actor is his genius at self-immolation, his ability to be the center of attention without dominating it. His generosity towards other actors is perfect for T’Challa, a character who isn’t the most interesting and doesn’t need to be in his original world. Luckily, you can see more of this world in Wakanda Forever. You see it in the royal ceremonial ischikolo that Ramonda wears during a meeting with the Wakanda Council of Elders, played by familiar faces like Isaac de Bankole and the late Dorothy Steele (who died in 2021). You also see it in Winston Duke’s ever-changing M’Baku, the clan leader’s furry bear, and Lupita Nyong’o’s extraordinary and underused performance as Nakia’s master spy, who after forced destiny returns to serve his country. . – alienate. He had his doubts about his circumstances, but this was a welcome homecoming. You will know the feeling.
“Black Panther. Wakanda Forever”
Rated PG-13 for intense violence, action and multiple sound sequences
When? open friday
Where? wide version
Duration: 2 hours, 41 minutes
Black Panther from Marvel Studios. Wakanda Forever |: Red Carpet LIVE!
The other day my friends and I went to see a new horror movie.I was nervous going into the cinema because although I love cinema, I usually don’t like horror movies. The last thing my wild imagination needs is something tangible to work with, so I don’t like this genre very often. However, with the support of my friends, I bravely shot the film and survived to tell the tale, although I can’t say I didn’t get off without a hitch.
The film scored 1970 on Rotten Tomatoes and has a score of 6.8 on IMBD. Both ratings are high for a genre that has struggled to please audiences. So I was expecting a great movie and I can’t say I was totally disappointed. The film has all the typical elements you would expect from a horror film. However, there were also many uncertainties. Once I had a strong idea of the plot, I couldn’t wait to see how it would end. The film was consistently attracting attention due to its good action and good performances by the lead characters. But I do have a few criticisms, though I won’t say too much.
I think the movie would have been scarier if the main villain had been a little less obvious. The unknown allows the imagination to personalize the viewer’s fears, creating a more terrifying experience. It also leaves more room for the powerful symbolism of presence and its connection to mental health. I think it is possible to examine the history of existence in depth. To get to the bottom of it, the characters delve deep into the past and discover that this malevolent entity has claimed several victims in the past. However, they do not attempt to trace the origin of the entity or trace events back to their source. It can be fun and help the characters. However, I would say that the movie ends in a way that leaves the door open for a sequel or prequel, so the writers are saving the creation story for another movie. As a psychological thriller horror film,Smilesucceeds. I left the theater feeling anxious and uncomfortable, feeling like the ending was unpredictable, and frustrated that I didn’t get the ending my mind wanted, but maybe scarier and more realistic. . Overall, I think it’s worth checking out if you’re a fan of the genre.
Gabriel Bossard is a journalism student from Dakota. He can be reached at [email protected].
Smile (2022) SPOILER FREE Horror Movie Review Reply | Come with me Shameful astronauts
Aftersun has been on my mind since it premiered at the Cannes Film Festival in May. Now when there is no good reason to check out the zine. It’s the best film of the year for a first-time screenwriter and director.
Scotland’s debutant is 35-year-old Charlotte Wells, and her debut is cause for celebration. Don’t expect to be sexually shocked or impressed. For Wells, we only need the realm of the human heart to smile, acknowledge the gesture, and then cry.
Aftersun is a father-daughter story based on the life of a girl on vacation with her father, Wells. The era of the late 90s, dominated by Walkman and karaoke. It was a cheap beach resort in Turkey, far from Scotland, where his parents had gone to live in London.
11-year-old Sophie (newcomer Frankie Curio) and her father Callum (Paul Mescal) look forward to spending time together, tenderly mirroring the quirky adult Sophie (Celia Rolson-Hall) who remembers them on video cameras. mother regret
We are talking about complex issues here, where meaning is found in the exchange of ideas, in the spaces between words. Wells can live his life as a dying Callum – with a splint on his arm – quietly smoking on the balcony while his daughter sleeps or poses.
Wells notes that Callum is dead and Sophie uses her childhood memories to understand her father as an adult in Ghost Dance. What Wells does with his powers of observation is an incredible feat that would be the envy of anyone twice his age.
There’s a scene where Sophie discusses the dangerous tipping point between childhood and adolescence. Or Callum dancing alone, lost in a club with lights. As the father tells his daughter, “There’s a feeling that once you’ve gone where you came from, you don’t need to be there anymore.”
Sophie then feels further abandonment when Callum, a slave to her mercurial temper, sends her on stage alone to perform a karaoke version of their planned duet ‘Losing My Religion’. Wells doesn’t give us any details, just the pain that consumes this father as he tries to keep the best part of himself alive for Sophie.
This would be the time to raise the bar for a brilliant, surprising and immersive performance by Miskal and Coryo that represents acting at its finest. Koryo was chosen after a Facebook call with strangers. And what was the original discovery.
Irish-born Mescal, 26, who received an Emmy nomination and an Emmy nomination for starring opposite Daisy Edgar Jones on Hulu’s Normal People, is an extraordinary actress who has proven her mettle in God’s Country and The Lost Princess. too. .” “.” In Aftersun, he plays a complex role with paralyzed magical and elemental powers.
The empathy that Welles and his actors invest in this character gives Aftersun its ability to draw you in and disappoint you. Is the film too small to attract award attention? Hardly Last year, the beautiful miniature “CODA” won the Academy Award for best picture.
One thing’s for sure: You won’t be able to get Aftersun out of your mind and heart.
Directed by Lorcan Finnegan. With Eva Green, Mark Strong, Chai Fonacier, Katie Belton and Billy Gadsdon.
SYNTAX .
A fashion designer suffers from a mysterious illness that confuses her doctors and frustrates her husband until help arrives from a Filipino caregiver using traditional home remedies to uncover the horrible truth.
At the beginning of Lorcan Finnegan's delightfully culturally significant but slightly aberrant Nocebo , Eva Green meets or hallucinates Christine, a successful children's clothing designer who looks like a dead dog covered in ticks. Real or imagined exposure to the parasite left Kristin with many side effects: uncontrollable jitters in her shoulder, short-term memory loss, migraines, and more.
Needless to say, her career is on hold and her life has practically come to a standstill, making it difficult for her and her often overworked husband Felix (Mark Strong) to find time to date. his student Roberta (friends nicknamed Bobs, played by Billy Gaddon).
To the rescue comes Diana (Chai Fonacie), a Filipina nanny who doesn't remember what she hired. It is also revealed that Diana can take care of Bobs (who is often rude and disrespectful, not too eager for anyone else to interfere as a mother) and clean the house; He is also an expert in mystical healing techniques that give Christine quick results and take her away from conventional medicine.
A lot of this is based on Filipino folklore, where Diana tells a supernatural story that we, like Christina, aren't sure we believe. Felix is also becoming increasingly suspicious of these experiences, helplessly caught up in the dynamic.
The script by Gareth Shanley (a frequent collaborator with Lorcan Finnegan, who worked with him on the excellent suburban nightmare thriller Vivarium ) can move quickly, delving into culture-specific themes and introducing aspects of folklore with grim arrests of healing or revenge. While it's not hard to figure out what's going on in Nocebo (lots of hand wringing, one character creates a metaphor), the patient approach allows the character to get the spotlight he deserves. Radek Ladchuk's photographs also deftly and cleverly frame the characters, thus bridging class differences.
There are many memories from Diana's homeland that remind her of her family life, including the age of her husband and daughter Bob. This makes the class elements of the story more tangible outside of the endgame. At the same time, folklore is treated in greater depth, ensuring that the filmmakers respect this culture after presenting the gory aspects.
Deviations are easy to spot, though, and even at 97 minutes , Nocebo feels overwrought at times, leaving viewers waiting for the inevitable reveal. But social horror effectively focuses on these characters and the unacceptable situations that are shown. Chai Fonassier is also in complete control of Diana's character, measured and nuanced, perfect for both dramatic and horror beats.
Eva Green has a more brilliant performance about breakdowns and the inability to separate fact from fantasy. The horrors are refreshingly reminiscent of Filipino folklore and are visually realized with twisted imagination.
Robert Coder is a member of the Chicago Film Critics Association and the Critics Association. He is also the editor of the Flickering Myth Review. Read new reviews here, follow the news on Twitter or Letterboxd, or write to [email protected].
Director: Jack Kroeger. Actors: Georgina Campbell, Bill Skarsgård, Justin Long. 18,107 min.
Every opportunity in life is actually a risk. For women, any danger is a potential threat. The violent horror film subtly exploits this tension before becoming a chaotic monster movie that constantly raises viewers' expectations.
Tess Marshall (Georgina Campbell) arrives in Detroit for a job interview and finds a man there, Keith Bill Skarsgård, who is staying at an Airbnb she rented for a week. The property, although somewhat precarious, is the only intact home among the many abandoned lots in the city, a symbol of the industry's decline. In a vulnerable situation, Tess discovers that even the green flags are beginning to appear red. Why does Kate open a bottle of good wine if she refuses to drink it? Isn't it a strange coincidence that Tess saw a low-budget documentary filmed by the woman she was interviewing? “There are a lot of bad friends out there,” he said candidly. What makes him think he has the right to tell her? Here's a smart actor: Skarsgård is a charismatic artist, but if you don't believe him, you might not, because he's best known for playing the clown Pennywise in the IT remake, which reminds him of Tim Burton coming to life. .
I will refrain from divulging details. Numerous barbarian twists and turns are central to the Fund House's appeal. Debut writer/director Zack Kroeger, a member of the design team on the comedy You Know the White Boys, also captures the film's sense of place perfectly: the camera hovering at the top of the stairs. He slides down the corridor under the influence of unspeakable misfortune; He stares into the corner, shackles himself in fear.
As a director, Krieger knows how to deceive audience expectations by drawing on genre tropes before insisting on something realistic. The police here behave differently than in the movies. A common and problematic fear of women aging is not as simple as you might think. Tess may not always make the right decisions, but she's smart when it matters. Campbell masterfully masters the fast-paced tone of Barbarian , leaving room for humor without veering into horror comedy territory.
Former Zipper Creepers star Justin Long has been cast as AJ Gilbride, a sitcom star who has been accused of sexual assault. What he chose to do with it, along with what we think the movie is working on, is amazing and smart. In all this chaos, the Barbarian makes an important conclusion: women still pay the price for male cruelty.
There are many dark dramas out there that depict trauma without proper upbringing. Plagued by anti-black stereotypes, these big-budget narratives are often celebrated by the film elite, while independent films (which are usually ten times better) are discarded and forgotten. Based on the novel by David Chariandi and premiered at the Toronto Film Festival, Clement Virgo's latest project, Brother , has a delicate balance of story, drama and violence that sends the message that while the struggle is real, compassion for each other will win.
Francis (Aaron Pierre) and Michael (Lamar Johnson) are brothers who immigrated to Canada in the 1990s and are fighting hard for themselves. In particular, Francois stands on his feet in different worlds: in one – violence and danger, and in the other – his family. The film follows Michael as he travels through the suburban landscape and his own temptations with the dark side. One brother follows a certain path, the other tries to catch up with him, but he is like a stranger in a familiar community. What sets Bhai apart from other films of this type is its focus on the family and how, in a changing environment, boys are forced to become men before they are ready.
Brother has three parallel storylines and Virgo keeps all three at a constant pace and it never gets confusing. He knows how to visually communicate with the audience. The story is filtered through a familiar look that speaks to people in certain communities and conveys a universal message about what it means to be an outsider. Its clarity must be attributed to the playing of Pierre and Johnson.
The cast couldn't be more perfect. There is a vulnerability that the actors project onto the audience, which hits hard. The macho stigmatization of black men has left many feeling oppressed and isolated because vulnerability is being repressed. Pierre and Johnson did not hold back and did not fall into the trap of one-dimensional stereotypes. Your characters can freely express their inner thoughts. None of this would have worked if these young people hadn't set out and understood the path of grief Frances and Michael face, and it showcases two talented actors who are fearless and confident in their abilities. You are wonderful.
Bhai is a film that confirms why I love films. The narrative asks many important questions about black life and masculinity, but most importantly: when black boys grow up, who do they turn to for support? This is the main dilemma that Francis and Michael face. " Brother " is not just another "black" film. It's an integral part of the film that doesn't generate the excitement it deserves. I don't want this to go unnoticed and I hope others are open enough to recognize the talent of Clement Kumari and these young actors.
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"A bad plan is better than no plan." It's an in-joke that pops up at various points during Black Man , and while it's meant to be a pointless commentary on the assignment, on its second iteration it starts to sound like an apology to the film itself and its story. A mixture.
The problem is the capture of an all-powerful ancient metahuman known as the Tet Man (Dwayne Johnson), who, despite the film's best efforts to revive the increasingly predictable superhero genre, doesn't care that he's killing a man, the Black Man. there seems to be too much and too little, and no story movement is helped by the fantastical visual style, which is either artificial or very boring.
Flashback takes us to 2600 BC. when the Kandak people were enslaved by a sorcerer king who forced his people to mine a stone called Eternium so they could make crowns that would grant them demonic power. A young teenager like Musa rises up and is summoned to be punished by the same magical court (from Djimon Hounsou) that gave Billy Batson his powers in Shazam! The savior and rebel hero of Kandak was Tet Adam, who, according to legend, disappeared after the overthrow of the king.
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Cut to present-day Kahndaq, which has been taken over by an international criminal organization known as Intergang. Widowed professor Adriana (Sarah Shahi, "Sex/Life") wants to find the crown to keep it out of Intergang's hands, and is helped by her beloved skateboarder son Amon (Bodhi Sabongi, "A Million Little Things") and his comedy; savior brother Karim (Mohammed Amer, "Rami"). Adriano finds the crown in the old throne room, and as the Intergang prepares to shoot him, he reads the notes and calls Tet Man, who takes out the bad guys.
His return naturally attracts the attention of Suicide Squad leader Amanda Waller (Viola Davis), who urges the Justice League to subdue him. If you don't read comics, what do you think the Justice League is? In print, the team has a long and legendary history (even more so than the history of the Justice League), but in Man in Black we don't know if they are legendary or just thieves to Waller. The film doesn't even have a cast list, veteran Hawkman (Aldis Hodge, One Night in Miami) and Dr. In addition to Faith (Pierce Brosnan), they bring Cyclone (Quintessa Swindell, "Voyagers") and Atomic Destroyer. (Noah Centineo) to go ahead.
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The screenplay, written by a trio of screenwriters, doesn't know what to do with all these superpowers, except for more boring clichés, including Amon, the obsessed superhero who tries to raise Theta Man with capes and catchphrases. At first, the idea of introducing new heroes with power and a past sounds appealing on paper, but the fact that we don't know anything about the Justice Society and its members doesn't make them very attractive opponents for our anti-heroes. (Gas works on Atom Smasher because he's there to be an idiot out of his element, but when Cyclone talks about how he got his powers when he was kidnapped as a teenager, the conversation doesn't stay in the movie until the audience asks, " Sorry, what?")
The black man briefly addressed the elephant in the room with Adriana's short speech. He wondered why the Justice League lasted so many years while the Skull Crossers took over the country, but couldn't get there fast enough when the Tet Man launched. they are title, but here he explores the potentially subversive themes of a critique of American imperialism. He decided to tell a different story to find the monster that would destroy the world and stop the madman who wanted to take advantage of it.
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Director Jaume Calle-Serra made a name for himself by directing some of Liam Neeson's best action movies, but his collaboration with Johnson was less successful. As a leading man, Johnson works best in films where he balances his chiseled physique with a touch of self-awareness, but Cera lets him go too far in one direction or another; "Jungle Cruise" offers a good performance from Johnson, who likes to joke around, while "Man in Black"'s efforts at dark charm are stiff and stilted. (By the time he has a sense of humor at the end of the movie, it's too late.)
The ensembles did their best with the material, but none of them made it to the final rotation of the realization. There is an unsettling sense of connecting the four squares here; Brosnan for parents. Centineo for boys. A boy with a skateboard for teenagers. – which clearly reads like a marketing strategy rather than a character to interact with in this setting.
Most disappointingly, Black Man is one of the most visually confusing major studio epic superhero films, between lackluster CG and fast-paced editing that undermines the euphoria of every fight scene. (And there are so many fight scenes.) The idea of the conflict as a superhero throwing his opponents as far as he can gets some provocative laughs the first two or three times, but like everything else, it gets old quickly. . What has the black man done to his audience? Sometimes there may not be a better plan than a bad plan.
Black Adam opens October 21 at Warner Bros. and opened in US theaters through New Line Cinema.
"The Tragedy That Made Black Adam" trailer released.
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