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In “Hereditary,” director Ari Aster built tension and horror around deftly placed hints throughout the movie’s 127 minute run time. One could never quite place it, but something was incredibly unsettling about the life of the seemingly normal family at the heart of the story. It isn’t until the third act of the film—following an exceptionally gruesome twist—that things begin to reveal themselves, and all hell breaks loose.
Those who watched Luca Guadagnino’s previous film “Call Me By Your Name” will undoubtedly remember a now infamous scene with a peach. If you can, try and recall your emotions as you squirmed in your seat, uncomfortable as you tried to come to terms with the obscenity unfolding before your eyes. It’s not so much the outrageousness that shocks you, but the intimacy in which the director and cinematographer handle such strangeness. If your feelings in that moment could be amplified into an entire film, then you’d have Guadagnino's reimagining of the cult classic “Suspiria.”
In his 2012 directorial debut, Drew Goddard quite literally deconstructed the horror genre in his dextrous and clever “The Cabin in the Woods.” The film plays on many tropes familiar to the genre, all culminating in a perplexing final act that defies all logic and expectation but still manages to entertain.
The movie theater subscription service MoviePass has been in the news quite a bit recently -- for all the wrong reasons. Amid mounting skepticism as a result of the myriad changes to its business model, CEO Mitch Lowe sent an email to subscribers saying, “MoviePass members will be able to see up to three standard movies a month for $9.95, and be given up to a $5.00 discount to any additional movie tickets purchased.” While still a great deal, this is a far cry from their previous too-good-to-be-true model that allowed subscribers to see as many movies as they wanted for the same low price.
The United States’ battle with opioids has been well documented at this point. From frequent news coverage, the Trump Administration’s decision to enact the death penalty on drug dealers and even other documentaries, it has become a cornerstone in our nation’s political discourse.
Motherhood has always been an integral plot element in storytelling. Fantine (Anne Hathaway) is a woman who has to resort to extreme measures to feed her daughter in “Les Misérables,” and Ellen Page plays a girl who has to reckon with how her life will be different after her teen pregnancy in “Juno.” But often overlooked is the simplicity of the relationship between a mother and her family and how it is in itself is a compelling story story.
Filmmakers have always glorified men who live life in pursuit of a single goal. From Charles Kane’s final utterance of “Rosebud” in “Citizen Kane” to more recent films like “Whiplash” where the protagonist is dead-set on becoming the greatest drummer to ever live, suffering through endless abuse from his instructor along the way.
There is nothing particularly boundary-pushing about “You Were Never Really Here,” the newest effort by Scottish director Lynne Ramsay. It is a relatively procedural revenge film chronicling a man with a particular set of skills rescuing a damsel from the clutches of a group of men with sinister intentions (sound familiar?).
Music has always been a major part of our interaction with the world. It fills our music halls, our campuses, our workplaces and even our homes. Popular artists like Lady Gaga and Kendrick Lamar have built personas and entire brands around their names. Even members of famous bands like Harry Styles of One Direction and Adam Levine of Maroon 5 have name recognition.
In “A Quiet Place,” John Krasinski -- most famous for his role in “The Office” -- decides to take his first plunge into the horror genre as director and leading actor. What results is a compelling exploration of one of the most crucial elements involved in the making of a successful horror film: sound design.
The world was profoundly affected by the stock market crash of 2008, and Americans are still feeling the consequences. However, since 2008, Chinese markets have appeared to be unaffected and even improving in some cases. Documentary filmmaker Jed Rothstein’s “The China Hustle” explores a loophole that may have allowed Chinese companies to exploit world markets.
People often take for granted things that are a part of their everyday lives and ignore their meaningful origins in lieu of more pressing details like jobs and family.
In a world full of videos of crackling fireplaces, crickets chirping and ethereal soundtracks played over a night sky, viewers and listeners have plenty of resources for finding sleep aids online. However, these videos usually have no substantial purpose besides lulling the listener to sleep.
Horror director and producer Eli Roth has had an interesting career spanning two decades. From cult classics like “Cabin Fever” and “Hostel,” as well as an extremely memorable performance as the “Bear Jew” in Quentin Tarantino’s “Inglourious Basterds,” Roth has had both highs and lows, mostly earning a reputation as a niche director who makes gruesome, polarizing films. In a move away from his traditional role as director and producer of violent horror flicks, Roth has decided to undertake a reimagining of the 1974 revenge thriller of the same name, “Death Wish.”
The Academy Awards this year have a very diverse set of films across all categories, with the short film section being no exception. Here is The Eagle’s guide to the Oscar-nominated shorts broken down by category (“Animated,” “Live-Action” and “Documentary”) and listed in alphabetical order within those categories.
The months leading up to the 90th Academy Awards have been tumultuous for the film industry.
The reckoning Hollywood is facing with many of its prominent male figures as a result of the #MeToo movement has created a unique dynamic this award season. This year has been significant for the viewers and industry insiders as they revealed an underbelly of sexual harassment and abuse.
It’s probably safe to say that traditions, no matter how celebrated, can become dull after endless repetition. This is the case for the characters in “Game Night,” a film co-directed by the writers of “Horrible Bosses” (Jonathan Goldstein) and more recently “Spider-Man: Homecoming” (both John Francis Daley and Goldstein). When the subjects of the film decide to shake things up a little bit, it drastically backfires, sending the gang into a frenzied adventure when one of their friends is kidnapped.
Something anomalous has happened in filmmaking recently: Two World War II films released concurrently by different directors happened to contain eerily similar subject matter, and managed to complement one another. These films were “Dunkirk” (Christopher Nolan) and “Darkest Hour” (Joe Wright). “Dunkirk” is a harrowing film chronicling the escape of the surrounded British armed forces from the clutches of the Nazis while “Darkest Hour” serves as a biopic of the man who delivered them from their fates.
“In 1971, the world was changing…but here at home, time stood still.” These are the words that open “The Divine Order,” hinting at the world the viewer is stepping into; a world still full of sexism and inequality. Despite the film’s familiar story arc, it is complemented by a dynamic cast, a brisk pace, and impeccable comedic timing that make it one of a kind.
In his 2008 cult hit “In Bruges,” writer and director Martin McDonagh depicts two hitmen out on a contract in Bruges, Belgium. While the film never strays far from the macabre inevitability that someone is going to be murdered, the relationship between the two hitmen is akin to that of an old married couple trying to salvage their marriage by taking a vacation.