Tag: Review

Director Nicole Holofcener has long been one of our great chroniclers of everyday detail, someone willing to marry the funny with the honest, the creative doing mischievous things, for better or for worse. In his first film in a decade – he has made several TV shows in recent years and in 2018 directed and wrote an adaptation of Ted Thompson's "The Land of Steady Habits" – Holofcener returns to classic territory: the story of New York City. The neurosis, good intentions and rejection that keep us up at night. It's about love, of course.

And even though "You Hurt My Feelings" lacks all the things that Holofencer does so well – that honesty, that understanding of the structure of everyday life, that Julia Louis-Dreyfus in the spotlight, where it belongs – it turns out to be. Restrained for such a smart exhaust. The twists are nice enough and there are plenty of laughs and ideas here, but nothing new. If you like Nicole Holofcener's movies, you'll like this one, and there's some comfort in it, if not a hint of despair.

Of

Of

Perhaps this is intentional, since "comfortable but a little underwhelming" often epitomizes the state of long-term relationships in Holofcener's films (and, er, life itself), which is exactly what "You Hurt My Feelings" does. . Beth (Louis-Dreyfus) is a middle-class writer who also gives writing lessons, while her husband, Don (Tobias Menzies), is a therapist who spends his days helping New Yorkers with lessons. (Don't ask how they pay for their nice Manhattan apartment, especially when we're told over and over that Beth's books aren't selling well enough, but at least it creates a nice atmosphere.)

Their son Elliot (albeit idealistic Owen Teague) is trying to become a writer when he's not working at a local hardware store and trying to figure out why he doesn't like his invisible girlfriend anymore. and Beth's sister, Sarah (Mikaela Watkins, also excellent), is bored with her interior decorating job while her husband, Mark (Ariane Moayed), interferes with her unsuccessful acting career. Everyone is happy and their lives swing between love and work, with little else in between.

The central incident of the film – Beth learns from Don that Mark doesn't like his new book because he's struggling to get it published – is no secret. It's long been intended to be a full-length synopsis for the film, and the moment that unfolds is as poignant and terrifying as it should be. Louis-Dreyfus is devastated by the confession, and the actress brings out the full range of emotions Beth feels afterward.

But Holofcener also weaves in other revelations where someone learns a shocking truth about themselves that adds texture to Beth's great pain. Most of these events happen to Don, who, oddly enough, has another bombshell to deal with in the midst of his marital problems: he's a terrible therapist. (The couple, Amber Tamblyn and David Cross, often appear as an argumentative couple through Don, and Zack Cherry is another patient tired of Don's inability to really help.) Don is no longer alone. The one that makes Beth feel bad about her job. Even his agent doesn't like him, and the strange group of aspiring writers who teach at the New School don't even know the title of his most famous book.

Everything seems so real, so close, so familiar. It's not always good. Even moviegoers accustomed to Holofcener films might expect everything to shift into another gear, but it never does, it moves slowly, wears and darkens like an old sweater, never fades .

Other concerns are easily identifiable. Alors que Louis-Dreyfus and Watkins sont très crédibles en tant que sœurs (avec en prime Jeannie Berlin jouant sa mère préférée), d'autres Couples n'ont pas de sensi, come Watkins et Moayed (the couple's plus sent like meilleurs amis que des partners de longue date). comfortable).

Again, maybe that disconnect is the point, but in the moments where the film really shines, there's clearly more clever stuff going on beneath the surface. But Holofcener is also proud of the things that make his work so much fun: the endless walks and conversations in the city, the right costumes and sets for the characters, and the quick editing they do (watch out for Alisa Lepselter). LOL – and "You Hurt My Feelings" is full of all that stuff. Let's hope it hurts a little more.

Class B

"You Hurt My Feelings" premiered at the 2023 Sundance Film Festival. It will be released this year by A24.

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From here? This is the question I ask myself when I watch remakes and remakes of old movies. Whether I like them or not, I always ask why. Why was it started again? Why was it repaired? And then I look for details about the film that helps it stand its ground. I didn't get the answers to these questions while reloading Calmatic's House Party .

As one of my favorite movies as a kid, I think about the things I loved about the 1990s version of House Party . It was not only fun, but also smart, with subtle yet effective social commentary. The 2023 version, written by Jamal Olori and Stephen Glover, is just a slapstick comedy with flimsy characters and a narrative so obscure that I often forgot I was watching.

The film takes place in Los Angeles and tells the story of childhood friends Kevin (Jacob Latimore) and Damon (Tosin Cole) who decide to throw the biggest party in town. From the beginning, the goal is to gain fame and make money. Kevin is a music producer and single father who lives with his parents. Damon is a slacker/bum who lives with his aunt and has no real goals other than making money, getting girls and bowing to the gram (Instagram demo). He is a party planner who is hunted by a group of three violent savages called the Young Threats (played by Allen Maldonado, Melvin Gregg and Rotimi) who want Damon to steal something.

Kevin and Damon work for a cleaning company, from which they are immediately fired for being reckless and smoking weed on the job. Now unemployed and broke, they decide to investigate the house they're cleaning, only to find themselves in the home of famous basketball player LeBron James (his production company, SpringHill Entertainment, turns out to be the film's producer). Against the law or common sense, these two idiots had the brilliant idea to throw a house party here. You gain access to his personal contacts and start dating friends and celebrities in hopes of earning enough money to lift them out of poverty and make them the biggest party planners in town, all the while avoiding getting arrested or killed in the process to become.

Combining aspects of social media, power-hunting culture and old-school music in the revamped feature adds no twist, depth or perspective to the reboot. What separates the 2023 version from the 1990 version, which featured hip-hop artists Christopher "Kid" Martin and Christopher "Play" Reid, is intelligence. The heroes of Kid and Play danced and had fun, talked to girls and came from middle-class families. It's all about getting home before bed, avoiding the neighborhood bullies, and throwing in subtle social commentary about police brutality and class. However, in Glover and Olora's script, willful ignorance is rewarded and celebrated as the lead duo cajole each other into making decisions that will literally ruin their lives.

there are funny moments

Kid Cudi and writer Lena Waite, but House Party 's over-reliance on celebrities, social media influencers and key scenes from the 1990 film hamper the story even more. It's filled with overused comedy gags that don't elicit a response, the cast lacks chemistry, and viewers can see every plot point miles ahead.

You see, rebooting or redoing something isn't a problem, but since it's a popular title among millennials and Gen Xers, it's not the best indicator to use nostalgia for. Does anyone need to reboot the franchise to find out what substance is added to make the reboot stand out from the first one? How does this release complement the existing material? Social media may not be the only thing that defines this generation. There must be something else.

It may not be true, but I was delighted. Kalmatic is a great storyteller and his music videos are top notch. SpringHill has a particular interest in content for people of color and for people of color, especially black people.

Both will go gold one day, but not with House Party 2023.

House Party (2023) | Trailer | evaluation in description

Dawn for the Eyes , 2021

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.

What is M3GAN about ?

© Contributed by Mashable Like Teddy Ruxpin, but with murder.

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?

M3GAN focuses on mature concerns.

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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.

Is M3GAN the next Freak Horror icon?

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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.

How scary is M3GAN?

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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.

Is M3GAN Worth the Membership Fee ?

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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.

M3GAN hits theaters on January 6th.

Deadpool 3 (2023) | Presentation Preview | Marvel and Disney+ Studios

© Courtesy of WKRN Nashville Year in Review: Highest-grossing film of 2022

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:

1. Top scorer: Maverick ($718,732,821)
2. Black Panther: Wakanda Forever ($433,145,653)
3. Doctor Strange in the Multiverse of Madness ($411,331,607)
4. Jurassic World Dominion ($376,009,080)
5. Minions: Rise of Gru ($369,500,210)
6. Batman ($369,345,583)
7. Avatar: Waterway ($358,117,914)
8. Thor: Love and Thunder ($343,256,830)
9. Sonic the Hedgehog 2 ($190,872,904)
10. Black Adam ($167,873,355)

Here are the highest-grossing films in the world:

1. Top shooter: Maverick ($1.4 billion)
2. Avatar: The Waterway ($1.1 billion)
3. Jurassic World Dominion ($1 billion)
4. Doctor Strange in the Multiverse of Madness ($955,775,804)
5. Minions: Rise of Gru ($939,433,210)
6. Black Panther: Wakanda Forever ($808,448,513)
7. Batman ($770,836,163)
8. Thor: Love and Thunder ($760,928,081)
9. Bridge Over Water ($626,571,697)
10. 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.

Pathaan Shahrukh Khan Film Box Office Compilation – 5 Mistakes | Diksa Sharma

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.

the story goes on

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.

[email protected]

This article originally appeared in The Columbus Dispatch: Year in Review: Local Filmmakers, Hit Film Events in 2022

Tamil Movie Rajini Murugan – Sivakarthikeyan | Kirti Suresh Magnet | UIE cinema

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.

Movie Super Mario Bros | The official trailer

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's Pan'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.

The story goes on

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

Guillermo del Toro in Pinocchio.

© Paramount Pictures

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.

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

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Jerry Bruckheimer talks to GQ about his most famous films: