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Whether or not the answer surprises us during these cynical times, the aftermath is as disarming as it is disturbing. Lyrics like “Daddy, I disobeyed ya/Now I want you to come punish me” invite all kinds of psychoanalysis that only grow more disturbing when you remember who her daddy really is, which would be fascinating if she hadn’t already written the sexier (and less creepy) “Rope Burn.” If one were to try to identify some kind of evolution in Janet’s latest bout of dirty talk, it might be sex with robots. Madeline and Cooper from the original scrappy feature become Maggie (Dylan Gelula) and Alex (Raiff), who navigate similar emotional terrain but within a larger personal and social framework that encompasses fellow students as well as Alex’s family at home in Dallas. But, for me, when I knew I was gonna make a movie about college, there was really only one thing that I could write about, and it was the pain of leaving home and growing up. Matt Brennan, David Lynch’s meta noir Mulholland Drive literalizes the theory of surrealism as perpetual dream state. But she has the wisdom to know that she’s not there.

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.

The album’s desperation is that of a dance icon who once sent one hot track after another to the top of the charts and is now deciding she liked the idea of being at the top of the singles charts better than creating immortal dance music. Despite being one of Bava’s simpler works, or perhaps because of that very reason, A Bay of Blood has proven to be the foremost progenitor of the slasher film, the one in which the Jason Voorheeses and Ghostfaces owe their blade of choice to. But you’re right, ultimately, there’s always going to be for me a conversation between the two. You just have to live through certain things and experience certain things—and also experience certain pains—in order to get there. I remember an older friend of mine told me in my first year at school, “I think your biggest problem is that you are over college and you are already a freshman.” But at the same time, I was still 19 and immature. and The Velvet Rope). Schrodt, After a sufficient opening in which moody strings swell over a dark, driving bassline, A-ha’s theme for the first Timothy Dalton Bond film falls victim to an irredeemable ‘80s musical trend: a noodling synthesizer riff that attempts “sleek and sinister” yet comes off as a show-offy try-out for an Emerson, Lake & Palmer cover band. You’re seeing this ad based on the product’s relevance to your search query. There were certainly questions in the edit around how literal we wanted it to be, how much we felt the film needed to explain the minutiae of the crime, the trial, the legal system, the sentencing. In Fabric finds Strickland doubling down on these qualities, mounting a gorgeous and lonely horror film that expresses emotion via a series of increasingly abstract motifs. Serving as a kind of thematic unifier for David Lynch’s Lost Highway soundtrack, “Eye” was Pumpkins fans’ first taste of the band’s post-alternative offerings, where the remnants of their baroque, neo-Victorian rock tastes met Corgan’s new obsession with Pro Tools. I’m blown away that such a central component of the film, Fox Rich’s personal video archives, weren’t baked in from the beginning. © IFC Films, As someone who’s not all that different from Alex, I didn’t feel like I had to travel far. The film also abounds in inspired sketches of madness and infrastructural collapse, from the military’s dehumanizing uniform of black gas mask and white hazmat jumpsuit to an irrational image of an insane woman sweeping a battlefield with a broom. 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. It’s rather amazing how far the film is able to coast on its uniquely fascinating premise, even if it isn’t much of a stretch for its director: Campillo co-authored Laurent Cantet’s incredible Time Out, a different kind of zombie film about the deadening effects of too much work on the human psyche, and They Came Back is almost as impressive in its concern with the existential relationship between the physical and non-physical world. Eric Henderson, Ganja & Hess is both a highly personal reconstruction of the vampire myth (many cite it as the “anti-Blacula”), as well as a Godardian broadside, allowing us to imagine that Bill Gunn was actually thumbing his nose at the way the industry was shaping up for African-American directors in the ‘70s, thanks to films like Gordon Parks’s Shaft. I really cared about it being a wolf, but it’s really funny because a lot of people think it’s a dog, so it doesn’t even matter. Callahan, Robert Aldrich is always doing unexpected things with the camera. Complementing Jane’s portrait of coiled wrath, Molly Parker physicalizes the fear that informs every minute wrinkle of Arlette’s relationship with her husband, which the character attempts to paper over with bravado, inadvertently sealing her doom. Even with the editor, I wasn’t just coming in and saying, “Hey, do whatever you want.” I was trying to communicate, “Hey, this is exactly what I want. But if I recall, the real Greenhill is the Hornets. Dillard, In André Breton’s writings on surrealism, he envisions, and prescribes, a mode of fairy tale for adults rooted in juxtapositions so poetic and strange that they seem only possible in dreams. However flagrantly artificial and constructed, the whole film feels uniquely alive. From Shirley Bassey to Billie Eilish, we’ve ranked all 24 Bond themes from best to worst. Boasting color that would make Mario Bava blush and proffering hilariously conceited exchanges that oscillate between farce and bone-dry awkwardness, each successive scene loudly announces Refn’s turn of the screw. 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. Our wide-ranging conversation covered why he doesn’t think about cinematography when envisioning a film, how writing makes him a better person, and where he wishes he’d been more precious in editing his personal but not autobiographical character. Everything about the song feels grand and triumphal—right down to the lyrics, in which Corgan sings, “I’m gonna fly forever/We’re gonna ride the rainbow,” as if he’s approaching the gates of rock n’ roll Valhalla. This genre resents platitude (certainly, you can count the happy endings among these films on one hand), but the good horror film usually isn’t cynical, as it insists on the humanity that’s inextinguishable even by severe atrocity. While the franchise’s producers have often thought outside the box when choosing singers to headline each film’s soundtrack, they’ve increasingly skewed toward newer artists like Billie Eilish, who joins the ranks of musical vets like Shirley Bassey, Paul McCartney, and Madonna to provide the theme for the newest installment in the series, No Time to Die. And she’s a very different person than Aloné [Watts] and was navigating the system in a very different way. This disfigurement really suits her, giving a context to her character’s anger. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial.
And if all that’s still not enough, Polák’s film also offers a nifty showcase of some of the grooviest low-budget futuristic production design the ‘70s Soviet bloc had to offer.

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