Jean Genet and Marisa don’t toast to their kids because they’re decent human beings fighting heterosexual patriarchy, but for being the “devilish bitch” and “dirty-mouthed trans” that they are. This is a great movie that everyone should see! Must begin by saying I'm not a fan of military action films or the glorification of war. At the start of the film, Justine (Garance Marillier) is a virgin who’s poked and prodded relentlessly by her classmates until she evolves only to be rebuffed for being too interested in sex—a no-win hypocrisy faced by many women. Tureaud and Salzberg achieve their potent impact through the straightforward (but clearly admiring) observation of men who band together in battle and, in the film’s emotionally stirring final scenes, mourn their fallen comrades. If you have ever seen the woods surrounding Bastogne, Belgium? Searching for streaming and purchasing options ... Common Sense is a nonprofit organization. Does the movie offer any political commentary on the war itself? Wolfwalkers growls scornfully, if imprecisely, at the herd mentality that overtakes a violent citizenry and the way that organized religion feeds this fearful frenzy. While advances in the quality of special effects since 1990 should theoretically have made the ballroom scene a blockbuster showcase, the CGI deployed here is for the most part unimpressive. Find a complete schedule of TV and movie titles heading to Blu-ray and... Get a list of the best movie and TV titles recently added (and coming... We rank the 25 best-reviewed horror films of the 2010s. Derek Smith, Guillermo del Toro’s films are rabid commentaries on the suspension of time, often told through the point of view of children. The star rating reflects overall quality. When I stepped into the Hornet's Nest, I quickly realized this was unlike any war or soldier film I'd experienced. This is a sleeker-looking vehicle that’s eager to be scary but not comfortable being ugly. ALL RIGHTS RESERVED. Control is the theme of Masterworks. But in their latest, Synchronic, the filmmakers do the fitting for you. This is as close to war as many of you are likely to get, and the tension as bullets whiz by on an Afghan hillside is palpable. Families can talk about The Hornet's Nest's war violence. JImmy Carter is a great man who achieved greatness only after the carnival left town, a … A great story about the bravery, commitment and compassion of those serving. Review: Dear Comrades Takes on the Soviet System, Old-School Style. and the Terms and Policies, The last 10 minutes are some of the most moving you'll experience. This is the story of our most valiant soldiers and Marines, told through the narrative of a father and son, attempting to reconnect under unimaginable circumstances, who are assigned to cover the conflict for one of the United States’ major broadcast networks. When they charter a small boat and travel out to a remote island village, the streets are curiously empty and the only residents seem to be sullen, introspective children. But first, though, he conducts a series of experiments to see how Synchronic actually works, explaining away the surreal with narrated video excerpts and white boards, suggesting a classroom lesson via Zoom. The Hornet's Nest is exactly the version of the military that the military wants people to see, which means all its earnestness can't help but feel calculated. The Boettcher footage feels extremely close to actual combat, with bullets nearly hitting the lens. The sole detail about the stranger that Ivan relays, that he’s urinating, is more than enough to cast him as a potential threat. It would be well-deserved and be in honor of our men and women in the military who serve our country. Don’t avert your eyes from Alfredson’s gorgeously, meaningfully aestheticized vision, though you may want to cover your neck. The loveliness of Moore and Stewarts film, however, lies precisely in its reluctance to pack a punch. Mike and Carlos film him in his hospital bed and show us one soldier saying that he’s the kind of victim our army tries to keep out of harm’s way, but the details of the boy’s life, his family, his circumstances are never mentioned. Parents: Set preferences and get age-appropriate recommendations with Common Sense Media Plus. As Dracula vomits up non-virgin blood like water from a fire hydrant, Morrissey films Kier’s convulsing body not for campy laughs, but to highlight its anguish and deterioration. Your purchase helps us remain independent and ad-free. The two wind up at a cinematograph, “the greatest attraction of the century.” The intersection of vampire and victim in front of a labyrinth of movie screens is telling, as Francis Ford Coppola’s take on the classic Bram Stoker material winds up collapsing history and cinema together. This is actually two documentaries (i.e. Documentary filmmakers David Salzberg and Christian Tureaud take raw war footage, combine it with newer sit-down interviews, and turn it into something quite powerful and emotional. The Afghanistan war documentary “The Hornet’s Nest” is a kinetic, immersive experience, particularly in its deeply felt human moments. The true heroes in this film do not return home, will not receive an Oscar, nor will they see their children again. Throughout His House, Weekes’s seamlessly blends horror with elements of kitchen-sink drama and African folklore, morphing the domestic space into an uncanny, liminal zone where the distinctions between past and present, as well as Africa and Europe, are blurred beyond recognition. I watched this film I wondered if war truly ever ends, or does the scenery just change. Borat, like practically all satirically minded comedy in the Trump era, has been swallowed up into the all-consuming maw of electoral politics. As clear-eyed a portrait of modern warfare as you're likely to see. Review: Notturno Is a Powerfully Experiential Look at a Land Riven by War. The entire story feels very contrived and almost like I am watching those ubiquitous reality TV shows most Americans can't get enough of. But their destination includes some of the deadliest spots in Afghanistan, more or less right in the Taliban's backyard. Masterworks is uncomfortable with the modern iteration of auteurism, which has been corrupted from its French New Wave origins by being utilized as often macho shorthand that denies the contributions of other craftspeople involved in a film’s production. Though ostensibly a reflection of small-town Kazakh life, Cohen’s vision of Kazakhstan is really an elaborate amalgamation of various Warsaw Pact countries, including Russia and Poland, and though Borat himself would be loath to admit it, his incomprehensible language draws inspiration from Romani and Hebrew. I would have to wholeheartedly agree with the most popular reviews here such as "tmiller163" and "jmcfrancis." Josh Vasquez, Throughout Brain Damage, Frank Henenlotter’s images have a compact and gnarly vitality. Cohen evidently wants us to feel for his subjects, to find even a bit of empathy for some Qanon conspiracy theorists and Trump cultists. It’s a salient enough contradiction that, in its latter half, the film has characters hurriedly sum up the rules of the mythology based on some quite impressive logical leaps—lest we start thinking that the scares were conceived apart from internal narrative consistency. Alice Júnior only manages to transcend its sparkling surface in a few sequences where it pitches itself at grownups. In another moment of poetic-pornographic license, an evident nod to Alain Guiraudie’s Stranger by the Lake, a generically bearded hunk (Marcelo D’Avilla) with chained nipple clamps comes out of a man-made lake, ready to take Sandro into the water for an ecstatic drowning. © Beija Flor Filmes. Ed Gonzalez, Not unlike Matt Reeves’s American remake, Tomas Alfredson’s Let the Right One In is, in its color scheme and emotional tenor, something almost unbearably blue. These torrid trysts mostly take place in the woods, on bare soil or parked motorcycles, and involve piss, ass-eating, and face-spitting. But there’s hope in brotherhood, and in negotiating the ghostly Santi’s past and bandying together against the cruel Jacinto (Eduardo Noriega), the film’s children ensure their survival and that of their homeland. Which is to say there’s hope, and catharsis, offered by the horror film. They are in a bad situation and trying to make it out all in one piece. You don’t watch Laugier’s harrowing feel-bad masterpiece—rather, you’re held in its thrall. Sorogoyen’s camera begins a methodical pan along the coastline, at last centering one of the tiny figures, who turns out to be Elena walking head down in a sand-colored dress. Laugier’s film is grueling because there’s no real way to easily get off on images of simulated violence. Don't have an account? Too often, the film teases big, wild comedic set pieces that end up deflating almost instantly. Some of the suspense in the final courtroom showdown of "The Girl Who Kicked the Hornet's Nest" comes from the excellent question of whether she would rather be found guilty than provide anyone with the satisfaction of hearing her testify in her own defense. 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You must be a registered user to use the IMDb rating plugin. Murnau’s Nosferatu? What is the imposing creature at the dark heart of F.W. I have always had the highest respect for people serving in our military, but this film really does bring home and highlight what happens on the battlefield. Alice and her dad have to move down south because he wants to develop a new fragrance using pine cones local to the region, whose fruit only comes out if the person blowing through the cone has discovered the pine cone’s real essence. But they’re nonetheless chillingly tangible, brought to life by The Haunting’s supercharged production values: Elliot Scott’s dazzlingly florid interiors; Davis Boulton’s swooping, darting wide-angle cinematography; and, most of all, a quiet-loud-quiet sound design that suggests the presence of the spirit world more forcefully than some corny translucent ghost ever could.

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