A dash of the unexpected provides the finishing touch to any January movie worth its salts, and Knight has successfully smuggled one of the most gobsmackingly ill-conceived twists in recent history into multiplexes nationwide. A complete shift takes place as the film mutates from an overcooked genre piece guided by some exquisitely strange choices to something rarer and more precious.
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The cinema calendar is chockablock with faulty efforts built around perfectly serviceable ideas, but realized without a modicum of distinction. Serenity offers the less-common inverse: a magnificently terrible idea, executed to perfection. It is the best kind of bad movie, bristling with more spectacularly dysfunctional personality than one hundred conveyor-belt CGI bonanzas.
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Insulate yourself from any further knowledge to the best of your ability, and bear witness to the minting of a new gold standard in January movies. Facebook Twitter Pinterest. Topics Matthew McConaughey. Anne Hathaway Thrillers film reviews. Reuse this content. Order by newest oldest recommendations. Show 25 25 50 All. Threads collapsed expanded unthreaded.
Bad Movie Night: A List of Terrible Films Screened Since 2002
Same goes for their collection of Bollywood films. Who can keep track of any of this stuff? Well, we can. Or, at least, we try especially considering that Prime seems to trade titles with Netflix on a weekly basis. Also recently added: Hagazussa , one of our favorite horror movies of the year so far and Under the Silver Lake , one of our favorite films of the year so far. Here are the 50 best movies available to stream with Amazon Prime right now:.
Schwarzenegger and Stallone? These were beefy mooks that could believably be action stars. Wiktor Tomasz Kot is a musical director touring rural Poland, and young singer Zula Joanna Kulig , an ambitious enigma posing as a village girl. Her voice bewitches everyone in earshot, Wiktor most of all, and he is captivated by her talent and beauty.
Ennui and the search for reprieve from oppressive institutions weigh down the s, interrupted on brief occasion by bursts of joy expressed through dance, music, culture writ large and lovemaking. All of the things that make life worth living, in other words. Which means it might be the quintessential Brian De Palma joint.
De Palma may have tried to dissuade his film from controversy by including a levelheaded interview with a trans war reporter on TV, watched by two characters during a split-screen sequence, but that hardly matters when De Palma has admitted to creating his own version of Jekyll and Hyde, essentially turning a trans person into a monster. Problematic but emblematic of a great director, this sleazy flick is still worth checking out.
Years ago, he was a novelist of some acclaim—he even won a prestigious literary prize—but lately, the muse has run dry, leaving Ryota busily tending to his gambling addiction while taking a job as a private detective.
After the Storm shows this man more kindness than perhaps he deserves, but the film has no illusions: Only Ryota can pull himself out of his own hole. In between unsettling and barefaced displays of noxious human ills and pseudo hallucinatory insanity, rests still frames so gorgeous they belong in their own art gallery tableau. An hour and change later, the audience is given reason to wonder if they were right. To young Albrun, their incursions qualify as nightmares worse than those chronicled in fables.
In the present day narrative, the prejudice of her youth follows her. The film takes its time, but it drags the viewer along the way toward a mind-shattering oblivion. Is witchery truly afoot, or is she just losing her marbles at the business end of ignorant mob persecution?
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Movies like this function because the monster exists, not simply because people historically treat outsiders like stray dogs at best, vermin at worst. Sugar Kane is, in a nutshell, the kind of character Marilyn struggled so hard to avoid playing for the bulk of her career: a ditzy blonde, a pure sex symbol, someone who exists in the context of the movie just to tickle the male gaze, whether within the story or without.
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Watching the film today, you may wonder why Billy Wilder slacked on investing Sugar with any level of empathy, why he wrote the character as a one-dimensional object, a trophy for Lemmon and Curtis to compete over. You may also not wonder at all. The threats are known and the stakes understood, at least conceptually.
click And yet, by offering dedicated, deeply intimate portraits of the people caught up in these crises, Heineman complicates them beyond all repair, placing himself in undoubtedly death-defying situations to offer a perspective whose only bias is instinctual. So it is with City of Ghosts , in which he follows members of Raqqa is Being Slaughtered Silently, a group committed to using citizen-based journalism to expose the otherwise covered-up atrocities committed by ISIS and the Assad regime in Syria.
In hiding, in Turkey and Germany and at an event for journalists in the U. Heineman could have easily bore witness to the atrocities himself, watching these men as they watch, over and over, videos of their loved ones executed by ISIS, a piquant punishment for their crimes of resistance.
There is much to be said about the responsibility of seeing in our world today, after all. Instead, while City of Ghosts shares plenty of horrifying images, the director more often that not shields the audience from the graphic details, choosing to focus his up-close camera work on the faces of these men as they take on the responsibility of bearing witness, steeling themselves for a potential lifetime of horror in which everything they know and love will be taken from them. By the time Heineman joins these men as they receive the International Press Freedom Award for their work, the clapping, beaming journalists in the audience practically indict themselves, unable to see how these Syrian men want to be doing anything but what they feel they must, reinforcing the notion that what seems to count as international reportage anymore is the exact kind of lack of nuance that Heineman so beautifully, empathetically wants to call out.
Rather, this bizarre deconstruction of Reagan-era yuppiehood came from Brian Yuzna, well-known to horror fans for his partnership with Stuart Gordon, which produced the likes of Re-Animator and From Beyond …and eventually Honey, I Shrunk the Kids , believe it or not. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family members and indeed, the entire town are involved in some sinister, sexual, exceedingly icky business.
Crippled Avengers Year: Director: Chang Cheh In a time when exploitation cinema seemed the standard for cheap movie houses the world over, no martial arts flick got much better than this Shaw Brothers staple, which eventually adopted the much more PC title, Return of the 5 Deadly Venoms. Movies like this give us reasons to get up in the morning. That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?