This supernatural fable elevates the subtext of Bryan Bertino’s earlier work to the level of text. “You’re the smart one and I’m the cool one,” one guy says to his girlfriend before the mayhem gets underway—and that’s about the extent of the film’s character shading. Take his sudden decision that she looks a lot like his dead wife (which she doesn't at all) in order to get her to pose nude for his unfinished sculpture, another scene beautifully shot but completely gratuitous. There are no approved quotes yet for this movie. The slow, silent shots of George watching Margaret stare out a window and the sweeping pans across the mountain landscapes that decorate the couple’s journey offer a fragile idyllic vision of the peace the pair is fighting for. |, December 29, 2017 We want to hear what you have to say but need to verify your account.
...a film that is poetic and subtle, a slow-burn, perhaps too slow at points, that culminates in a difficult, yet compelling ending. Voice from the Stone Review; Reviews Voice from the Stone Review. Check box if your review contains spoilers. Ridley Scott’s Blade Runner, for example, simply mines some of the concepts from Phillip K. Dick’s Do Androids Dream of Electric Sheep? Emilia Clarke is stunning and her performance is riveting: in a film, probably her best so far.
Bertino’s formalist brio prevents The Dark and the Wicked from entirely slipping into a coma of its own.
Cinemark The film begins to hastily transform in its third act from staid period piece to Gothic-horror freak-out, and in the process further obscures the mythology it’s established. Voice from the Stone movie reviews & Metacritic score: Set in 1950s Tuscany, Voice from the Stone is the haunting and suspenseful story of Verena (Emilia Clarke), a … In one timeline, he’s an earthbound schmuck; in the far less likely one, he’s a hero who must save an oppressed people on a faraway planet. Chuck Bowen, The Blackcoat’s Daughter has a sad, macabre integrity. And though Lane’s performance is dauntless and vital enough to animate the more solitary moments in the film, the verbal confrontations between the Blackledges and the Weboys often tiptoe toward ridiculousness in their shapeless hostility. By the time that The Monster reveals itself to be a horror film, we’re so engrossed in Kathy (Zoe Kazan) and Lizzy’s (Ella Ballentine) pain that the arrival of the titular menace strikes us as an authentic violation of normality, rather than as a ghoul arriving on demand per the dictates of the screenplay. and the Terms and Policies,
Looking back on it with the same sense of from-the-future assurance that informed the movie’s own creation, Back to the Future is a logistically beautiful but almost inhumanly perfect confluence of internal logic and external forces. All rights reserved. The titles below (all presently streaming on Netflix) have shown us utopias, dystopias, distant planets, and our own Earth destroyed. The father is already essentially in a coma, and since the mother is apparently following suit, Louise and Michael are next to bear the brunt of what appears to be a contagious or even inherited trauma. Cast: Gary Oldman, Amanda Seyfried, Lilly Collins, Tuppence Middleton, Charles Dance, Tom Pelphrey, Arliss Howard, Tom Burke, Joseph Cross, Toby Leonard Moore, Jamie McShane Director: David Fincher Screenwriter: Jack Fincher Distributor: Netflix Running Time: 132 min Rating: R Year: 2020. “The [sci-fi] film has never really been more than an offshoot of its literary precursor, which to date has provided all the ideas, themes and inventiveness. The controversy of authorship that continues to engulf Orson Welles’s Citizen Kane hinges on whether or not Herman J. Mankiewicz deserves primary credit for the film’s sensibility. Arguably, the world doesn’t need another film that speaks to the perseverance of the bond between two men through years marked by obstacles of various magnitudes. 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. You can’t squeeze blood out of stone, but unfortunately, this film can’t squeeze much drama out of one either. The fantasies of the film are more “real” than anything he’d written before, because they define who we think we are. You're almost there! She appears to be running from something, although the film curiously never really explores what that something is. As he illustrated in The Strangers, Bertino has a very capable, Carpenter-esque way of establishing and exploiting spatial dynamics, which he utilizes here less for set pieces than for impressively sustaining an inchoate sense of dread. Few vintage literary devices translate to film as well as the Gothic doppelgänger: An unsuspecting character finds a hidden, often darker, side to herself when her double shows up — and sometimes assumes possession. But what matters here is that the love is real. The filmmakers have hit upon something special with the Danvers State Mental Hospital, whose sprawling Victorian edifice looms large over the narrative: A motley crew of asbestos-removal workers, led by matrimonially challenged Gordon (Peter Mullan), run afoul of a baleful, possibly supernatural, influence within its decaying walls. Code 39 Films, May 4, 2017 In showing how algorithms figure into China’s social credit system, in which individuals are tracked and evaluated for their trustworthiness, Kantayya captures a dystopia straight out of Orwell’s 1984, which is unsurprisingly referenced throughout Coded Bias. Don't have an account? Her is about “the modern condition,” but not, importantly, in the strictly satirical sense: It tells us less about how we live than how we love. |, April 27, 2017 In each of these cases, Coded Bias exposes the disproportionate amount of harm being done to women and people of color, whether it’s a young black teen being harassed by British police after he was misidentified or the determined, elderly black woman who refuses to be used as a technological guinea pig by her landlord. 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The 1985 film centers on Connie (Laura Dern), a 15-year-old from a farm in the Northern California suburbs. ALL RIGHTS RESERVED. Set in 1950s Tuscany, Voice from the Stone is the haunting and suspenseful story of Verena, a solemn nurse drawn to aid a young boy who has fallen silent since the sudden passing of his mother. |, April 28, 2017 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. Please enter your birth date to watch this video: You are not allowed to view this material at this time. When the demons appear in the film, and in terrifyingly fleeting glimpses, Perkins understands them to spring from the deepest chasms of human despair. Matt Brennan, As in real estate, the three most important factors in Brad Anderson’s brooding Session 9 are: location, location, location. This 10-digit number is your confirmation number. This time, armed with a bigger budget and greater chutzpah, he goes about setting up the ultimate morality trap: Mr. Peterson’s game is designed to expose his victims for what they are—selfish, soulless members of a spoiled generation—and the audience is supposed to wonder which among them will first succumb to their murderous impulses.
Nevertheless, Emilia Clarke is still beautiful in this role, even if you're not always sure what's going on with her character and the story. Gonzalez, The Guest is carried by an intense and surprising mood of erotic melancholia. In her absence, their son Jakob (Edward Dring) has elected never to speak again—he fears if he opens his mouth, the long dead mother will stop speaking to him from the walls. That short’s entire scenario comprises the opening scene of this tale of friendship gone awry. Coming Soon. Voice From The Stone (International Trailer 1), November Preview: 19 TV Shows & New Movies to Watch at Home. 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. And the music, the ambiance of the castle, the red ivy, the fog, etc.
Citizen Kane conjoins an old-feeling boozer’s shame with a young man’s love of tricks, magic, and shtick; it’s a formally hopeful dramatization of collapse, a contradiction that cuts to the heart of the sort of ambiguities that hound people’s lives. | Top Critics (6) Throughout, Joyce Chopra patiently and shrewdly observes the contradictions of human behavior that Laura Dern brilliantly conveys. Flanagan is deeply invested in Cody’s (Jacob Tremblay) welfare, to the point of rigidly signifying the various manifestations of the boy’s nightmares, pigeonholing irrationality into a rational framework so as to justify a moving yet literal-minded finale. Emilia Clarke's Voice from the Stone is buried in a rich Edgar Allan Poe soil, but it still makes for a shallow grave. Because this is America, and because this is the America of the mid-‘80s, consumerism is crucial to this process. Though they portray Joseph pitilessly as a politico, the filmmakers tell the audience little about the interrelationships between these and other influential people. Once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer.