Ben Foster, It’s telling that director Bob Clark opted to pair Scut’s scenes with the Wolf theme from Sergei Prokofiev’s Peter and the Wolf. We have our individual lives, but we’re a part of a larger system. However flagrantly artificial and constructed, the whole film feels uniquely alive. Several ordinary high school students go through their daily routine as two others prepare for something more malevolent. The film has an eerily WTF arbitrariness that should be the domain of more films in the genre. Keep an eye on the guy in the gray shirt with the Transformers print on it. Because, on the one hand, sometimes the way they talk seems very on the nose. I can imagine it’s tough to speak to a project that was never realized, but what form and shape would your film have taken without them? And because I think there’s this thing where people think there’s four different movies: the movie that’s written, the movie that’s on the set, the edited movie, and the movie that the audience receives. Her husband cheated on her and they’re divorced. The thing is, I’ve just been talking so much about how it’s universal. How do you convey such a radical notion without coming across naïve? The status quo is damning enough. It’s not for nothing that Henry is made to have no voice, as Hardcore Henry’s unbelievably precise choreography of action seeks to tap into a universal feeling of powerlessness. “Bet you won’t click on this link and then email me,” read the tweet from college student Cooper Raiff to indie film maven Jay Duplass that began the journey of Shithouse. Who's got the last laugh now? Janet’s least successful album isn’t without its pleasures though: Produced by brother Marlon, “All My Love to You” successfully apes Off the Wall-era Michael, while the sexy, nearly seven-minute “Pretty Boy”—courtesy of Jesse Johnson, who, along with Jam and Lewis, was part of the Time—provided a glimpse of things to come in Janet’s own oeuvre. The redditor wrote, "She was crying in the hall one day and I went up to her, asked if she was ok and offered my phone to her if she needed to call her mom. Everyone leaves home, because not everyone goes to college, but never would I think about someone connecting to the very specific private school to college [journey] and just how special that small school makes you feel. Guy Ferland But with the script, I always tell the actors that they can rewrite whatever they want to rewrite. So when it got cancelled, it was kind of like, “Oh.” But everyone’s response to it getting canceled was so nice, and people really wrapped their arms around the movies in such a kind way. Rob Humanick, Narciso Ibáñez Serrador’s Who Can Kill a Child? That new film, Shithouse, won Raiff the grand jury prize at the 2020 SXSW Film Festival at just 23 years old. Such things are precious, and Gondry revels in that world in all its fleeting, flickering, ever-mutating joys. Diego Semerene, When divorced of message-mongering, the film’s scare tactics are among the most distinctive that the zombie canon has ever seen. | This film’s African-American characters also come under assault not in the inner cities of the white imagination, but in supposedly safer upper-class suburban spaces. And I said, 'That was me. Clayton Dillard, In The Strangers, Bryan Bertino exhibited a masterfully lush style that owed quite a bit to the elegant camera pirouettes of John Carpenter. I’m young and don’t know anything, so I’m not good at not doing the scrappy, singular thing. When you’re working with someone so closely for a period of time, it presents all sorts of interesting emotions and challenges. I hope people get that in order to take care of people and look out for each other, you have to first take care of yourself. I just wanted to get across that there’s gonna probably be some like’s and um’s in this one this big line. How did you conceive the film’s coda? The intention behind that was to say, “How can I extend the conversation around incarceration, from a sort of black feminist point of view, from a familial point of view? The twist of this film is that bullying is contagious, with the victims becoming the villains. This study of human loneliness and the prickly crawlspace between adolescence and adulthood is also an unexpectedly poignant queering of the horror genre. We’re witnessing conditioning at work, in which Justine is inoculated into conventional adulthood, learning the self-shame that comes with it as a matter of insidiously self-censorious control. But when they do, I can’t stop thinking about them. For instance, when Sandro (Leandro Faria Lelo)—who regularly has sex in the woods with a co-worker, Ricardo (Allan Jacinto Santana), after their shift at the factory—happens upon what looks like a leather bar, the place turns out to be an empty construction site where queer archetypes—the harnessed master, the puppy slave, the drag-queen hostess—are there to perform for Sandro and Sandro alone, in a mix of silent performance art and interactive pornography. It also doesn’t possess the qualities audiences would soon come to recognize in Bond theme songs, with a sound more in the romantic vein of Frank Sinatra than in the adventure-oriented vein of, say, Tom Jones. She was first suspended then expelled after the video got to the parents' association, and no other school would take her because of this. In such instances, Alice, Sweet Alice turns momentarily shrill, with actors screeching their lines almost directly to the camera—a device that expresses pain and refutes the fashions with which many horror directors rush through the grief process haphazardly in order to move the narrative along. Now who's looking beautiful and being successful and getting lots of love? Thank u Frida! Much like Ringu, Sinister concerns a cursed film whose audience dies after exposure to it, but here the curse is disseminated not by clunky videotape, but by a box of 8mm films. For every eviscerated remake or toothless throwback, there’s a startlingly fresh take on the genre’s most time-honored tropes; for every milquetoast PG-13 compromise, there’s a ferocious take-no-prisoners attempt to push the envelope on what we can honestly say about ourselves. She kept saying her name and I nailed the performance . I also wanted it to tie back to high school. Robin Boissevain, Gonzalez, The Guest is carried by an intense and surprising mood of erotic melancholia. Ilmar Raag Director: Gonzalez, The Mad Max trilogy is the work of a talented virtuoso who blended seemingly every trope of every movie genre into a series of punk-rock action films. Guadagnino uses Argento’s original as a launching pad for interrogating how the old, whether in dance or politics, often corrupts the new. First, let's start off by saying that we don't condone fighting in any way. So many films, particularly American ones, tell us that we can be whatever we want to be, and that people who don’t achieve their desired self-actualization are freaks. It’s no accident that some of the greatest cinematic adaptations of sci-fi novels bear only a passing resemblance to their source material. 34,243 For every eviscerated remake or toothless throwback, there’s a startlingly fresh take on the genre’s most time-honored tropes; for every milquetoast PG-13 compromise, there’s a ferocious take-no-prisoners attempt to push the envelope on what we can honestly say about ourselves. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality. I think I knew that it was universal, but I didn’t know if I communicated that well enough. These films show us utopias, dystopias, distant planets, and our own Earth destroyed. | 93 min It’s a chilling depiction of how the military can be as effective at making monsters as it can at making heroes. Her name is Madeline, and the movie’s based on our relationship, so I know exactly how she talks. Off a popular thread on Reddit, a member by the name Soised revealed a relatively simple way he or she got revenge on a high school bully! I think Maggie’s line is, “Just because your life’s shitty doesn’t mean you can make other people feel like their life is shitty.” Alex is so harsh about the way that people are just trying to survive because he’s not doing a good job of surviving. Nic Balthazar Guess that girl's wall will be empty for quite some time! 9,765 Gnashing her teeth and making the most of her ultra-‘90s goth wardrobe, Balk is a scream, so twisted and off her broom that her evil deeds finally land her in an asylum. Bradley’s frequent deployment of stirring piano solos by Emahoy Tsegué-Maryam Guèbrou may give Time the aura of a fairy tale as Fox faces down a seemingly insurmountable system of oppression in the name of love, yet the film never loses grounding in the everyday realities and inhumanities made normal by mass incarceration. The spoiled catalyst for all of mother Mildred’s epic troubles, Ann Blyth’s abusive Veda Pierce wrings everything she can out of Crawford’s suffering heroine, even pushing Mildred to murder. This can be surprising because she is one of the most sought after, talented, and acclaimed actresses today--and she proudly states that she actually considers her successful acting career to be her revenge on childhood bullies. Soon, she was the one starting the meanness, leading to beatings and even egging the victim's house. | Matt Brennan, As in real estate, the three most important factors in Brad Anderson’s brooding Session 9 are: location, location, location. Bowen, The Invitation filters each sinister development through Will’s (Logan Marshall-Green) unreliable perspective, to the point that one friend’s failure to turn up at a lavish dinner, or another’s precipitous departure, appear as if submerged, changing with each shift in the emotional current. No comedies. What’s more, he forces himself on Celie’s sister when she comes to live at casa del hell. After asking Dana Andrews’s comically hardheaded Dr. Holden how can one differentiate between the powers of darkness and the powers of the mind, Niall MacGinnis’s wily satanic cult leader conjures up a storm of epic proportions to prove to the pragmatic doctor that the power of the dark arts is no joke. So did D.W. Griffith. The film, far too strange to be flatly interpreted as a conservative lament for lost sexual decorum, convincingly focuses on the body as the root source of all humankind’s tribulations, whether in pursuit of pleasure or gripped in pain. Throughout the album, she talks to and interacts with a rather compassionate computer DJ named Kyoko, and her voice is robotic and synthetic on tracks like “Feedback” and the Daft Punk-sampling “So Much Betta”—not necessarily such a bad thing for an artist whose vocals often consist of unintelligible murmuring. From the schoolyard to the psych ward, the bully was a cinematic staple well before becoming a hot-button news topic. New comments cannot be posted and votes cannot be cast, More posts from the FreeFireBattlegrounds community, Continue browsing in r/FreeFireBattlegrounds, JOIN THE OFFICIAL FREE FIRE SUBBREDDIT r/freefire, Press J to jump to the feed. Rowin, Sheena Easton’s soft-rock power ballad matches the glossiness of For Your Eyes Only to deliver one of the franchise’s peak-‘80s efforts—which is to say, forgettable even when it’s viscerally pleasurable.