Hooper’s Grand Guignol flourishes are occasionally evident, particularly when a paranormal investigator pulls his own face off, but the technical proficiency is all Spielberg’s, as is the abiding interest in families and the influences (supernatural or otherwise) that disrupt them. The attack also functions as an indirect representation of the senseless violence at the core of the Old Testament story of Isaac, which is the passage being discussed by the congregation before they’re forced to flee. At the time, the couple had four sons, and Sibil was pregnant with twin boys. In a voiceover against a backdrop of darkness, a man tells his daughter—playfully but with an unmistakable edge of seriousness—that she will always be his, even after marriage. The film is a strange and still novel mixture of coming-of-age character study, murder mystery, and Grand Guignol horror spectacle. Though the creatures at its center live in relatively pleasant free-range environments, a far cry from the industrial hellscapes denounced by documentaries like Food, Inc. and vividly depicted as essentially a death camp in Bong Joon-ho’s Okja, they’re ultimately objects of exploitation. Just click the "Edit page" button at the bottom of the page or learn more in the Synopsis submission guide. You’ve talked about the narcissism of the Dyne parents being one of their defining characteristics, and it got me thinking about how the trait seems to be generational.

Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors and incarnate our sickest, most socially unpalatable fantasies. Laura might initially be rooting for Dean’s betrayal as well, as it offers a pat answer to her feelings of stagnation. Despite the signs—the difficult-to-start vehicle, the fallen bridge—no one else believes the woods are alive. Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. Ash (Bruce Campbell), horrordom’s most memorable wuss, and his girlfriend, Linda (Betsy Baker), share an intimate, peek-a-boo moment in which he gives her a necklace, and when he’s later forced to kill her, Raimi takes great joy in referencing this coquettish exchange of affection. I’m sort of the opposite of that as far as cinema goes. I mean, it’s a terrible time politically for a pandemic. I’m sort of surprised more hasn’t been done. Director: Werner Herzog, Clive Oppenheimer Screenwriter: Werner Herzog Distributor: Apple+, Running Time: 97 min Rating: NR Year: 2020, Enter to Win a 4K of DreamWorks 10-Movie Collection, Blu-rays of Roman Holiday, and More, Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way Soon, Review: Another Round Honestly and Poignantly Grapples with Alcohol’s Pull, We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal. And then, also, it’s porous. Willowdean impetuously decides to enter the Miss Teen Bluebonnet pageant, along with her BFF Ellen (Odeya Rush), and two other unlikely candidates, the irrepressibly sunny Millie (“Hairspray Live’s” Maddie Baillio) and angry feminist Hannah (Bex Taylor-Klaus). Laura and Felix work their way through New York, with a side trip to Mexico, in order to find out if Dean is cheating on her—a screwball adventure that Coppola invests with richly unresolved, contradictory undercurrents. Were you consciously trying to approach these themes in a more oblique way? Adam Wingard leans real heavy on 1980s—or 1980s-sounding—music in the grandly, outwardly wounded key of Joy Division, and he accompanies the music with visual sequences that sometimes appear to stop in their tracks for the sake of absorbing the soundtrack. What I loved about doing that project with Margaret was that it was very immediate and spontaneous. When the demons appear in the film, and in terrifyingly fleeting glimpses, Perkins understands them to spring from the deepest chasms of human despair. The film is a nostalgia act for sure, particularly for The Hitcher, but it injects that nostalgia with something hard, sad, and contemporary, or, perhaps more accurately, it reveals that our hang-ups—disenfranchisement, rootlessness, war-mongering, hypocritical evasion—haven’t changed all that much since the 1980s, or ever. Yeah, maybe it helps that I’m not in it. For a moment, before the screen slowly fades to black, all these elements are held in beautiful balance. Going back as far as Cinderella to characters from Eliza Doolittle to “Pretty Woman,” there is enduring appeal in the transformation of female characters into more conventionally attractive and glamorous versions of themselves, usually to an upbeat pop song..

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