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Robert Laing Tom Hiddleston wanders waste-strewn halls. The film taps into a nightmare vein of real-life dread, of loss so profound and pervasive that it fundamentally changes who you are as a human being. XX is a horror movie spoken with the voices of women, a necessary notice that women are revolutionizing the genre as much as men. Huppert is marvelous in the role: You may not leave the film scared, but you will leave it scarred, which is by far a more substantive response than naked fear. Back in those days, a public act of violence on this level was an anomaly piercing the veil of our sense of security. The progenitor of big money series such as Saw and Insidious has a knack for crafting populist horror that still carries a streak of his own artistic identity, a Spielbergian gift for what speaks to the multiplex audience without entirely sacrificing characterization. Cinema lets us engage with difficult subject matter through a veneer of security. It is a deftly woven and defiant look at how clauses within those amendments specifically the lauded 13th and the language of our political system both veil and reveal a profound and devastating truth about America: Episodic and off-the-cuff, the minute film initially feels like a lark, a renowned filmmaker spending a little time with everyday folks. Two performers bare it all, both literally and figuratively: Cornel West describes Coltrane as a thermostat, not a thermometer, of the times, an instrument personified that adapted rather than just measured. The key, it seems, to successful slow-burning in narrative fiction is the narrative rather than the actual slow-burn. Filmmaker John Scheinfeld dips in and out of the music—too much so, it turns out, and with too little insight into the specifics of his gifts. By its very nature, it pushes the boundaries of our personal comfort. But the trickery is less about deceiving the audience than it is about creating an environment in which Panahi can most clearly articulate his grief and anger. Reminding me of the experience of first seeing Paranormal Activity in a crowded multiplex, The Conjuring has a way of subverting when and where you expect the scares to arrive. It was 50 years ago this past August that Charles Whitman ascended the university tower with a cache of guns, killed three people inside, and went on to kill another 11 plus an unborn baby over the course of an hour and a half. Where we end is obviously best left unsaid, but The Invitation is remarkable neither for its ending nor for the direction we take to arrive at its ending. Instead, it is remarkable for its foundation, for all of the substantive storytelling infrastructure that Kusama builds the film upon in the first place. Matthew Robbins Old people and aliens partner to fight gentrification for the crowd-pleasing win! Nothing at home happens with action-packed aplomb though the director sets up tense red herrings to lure the audience into a sense of unease , and yet the stakes are painfully real. It was simply too frightening to deny, and that is worthy of respect. Slavery was never abolished here, DuVernay and the participants in the film argue. Think of April and the Extraordinary World as an intense workout for your brain, during which the film shapes a surrogate Earth in the span of mere minutes and fires off salvos of detail, visual and aural alike, in the pursuit of recalibrating the past.
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