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Complimentary snacks and water will be provided. Retrieved 5 August 2018. Retrieved 6 August 2018. Retrieved 5 August 2018.
There will never be a horror film that 100% of its audience enjoys. The sprawling story tests Slate's dramatic chops while feeding the former SNLÂ player plenty of ring golddelivers newcomer Quinn a breakout role, and gives Robespierre the chance to whisk us around New York City with the cool of Woody Allen or Hal Ashby. Now imagine something worse. And it's one bolstered by its constant synthesis of disparate forces—man and nature, the modern and the limbo, the West and the East, the physical and the ethereal, and, ultimately, the real and unreal. Shot on location at a community retreat and, briefly, at blue movies night 2017 hotel that was featured in Werner Herzog's Fitzcarraldothis unique effort is an alternately optimistic and despairing look at the prime clash of global cultures. Expertly sketched by Baumbach, this memoir-like portrait of lives half-lived is the kind of bittersweet, dimensional character comedy we're now used to seeing told in three seasons of prestige television. Retrieved 6 August 2018. Retrieved 7 August 2018. With unimaginable file, Ford interrogates the painful history of race in America and its indelible hold on him and his family. Early word suggests a superior romcom full of pathos and sly humour. Eschewing many non-fiction conventions talking head interviews, textual summaries for a chronologically fractured, up-close-and-personal depiction of courage under fire, it's a film that inspires as much as it horrifies and infuriates.
Retrieved 6 August 2018. England Is Mine … And it owes me a living. Lucky The late Harry Dean Stanton could have received no better big-screen swan song than Lucky, a Western ode to the ravages of time, the mysteries of mortality, and the inimitable laid-back cool of its leading man.
The 10 Best LGBTQ Films of 2017, From ‘Call Me by Your Name’ to ‘BPM’ - As for smaller films, there are two, Lady Bird and Call Me by Your Name, that I liked, but clearly not as much as many other critics. It was a film that made a huge star of and showcased some soon-to-be-classic Simon and Garfunkel; what perhaps gets lost at this distance is what a monster commercial hit this was in 1967.
Over the past twelve months, moviegoers have been gifted with a bounty of great blockbusters, indies and documentaries, proving that filmmakers are continuing to find new ways—both big and small—to entertain, excite, and enlighten. They are, in short, our picks for the best films of 2017. The Lure La La Land's award-season triumphs may have heralded the return of the Hollywood musical, but in terms of ingenuity, flair and sheer eye-popping weirdness, it can't hold a candle to The Lure. Polish director Agnieszka Smoczynska's wackadoo import is a familiar drama about a young couple torn between individual dreams and professional desires, the twist being that these protagonists Marta Mazurek and Michalina Olszanska are mermaid cannibals sashaying through the seedy cabaret underbelly of 1980s Warsaw. A bisexual Little Mermaid-by-way-of-vampire horrorshow scored to original New Wave-y tunes, it really is like nothing you've ever seen before. In the care of Shipibo shamans, she and other patients venture freely between lucid and hallucinatory states, and so too does the film, which proceeds in an oblique, waking-dream fashion. Shot on location at a community retreat and, briefly, at a hotel that was featured in Werner Herzog's Fitzcarraldo , this unique effort is an alternately optimistic and despairing look at the ongoing clash of global cultures. And it's one bolstered by its constant synthesis of disparate forces—man and nature, the modern and the ancient, the West and the East, the physical and the ethereal, and, ultimately, the real and unreal. Thelma After three reality-based character dramas, Norwegian director Joachim Trier takes a turn for the supernatural with Thelma, a genre piece about a girl with unholy powers—albeit one that still plays in a decidedly Trier-ian register. Posting ghastly video and still photos of ISIS atrocities in order to elicit global outrage and opposition, RBSS risks literal life and limb in its battle with terrorism, and to a significant extent, so too does Heineman via his doc, which embraces its subject's cause in order to effect change. Eschewing many non-fiction conventions talking head interviews, textual summaries for a chronologically fractured, up-close-and-personal depiction of courage under fire, it's a film that inspires as much as it horrifies and infuriates. Alien: Covenant Blending the body horror of his 1979 Alien, the gung-ho combat of James Cameron's 1986 sequel Aliens, and the philosophical grandiosity of his 2012 prequel Prometheus—not to mention the man-and-machine musings of his 1982 Blade Runner—Ridley Scott delivers a biblically scaled interstellar nightmare with Alien: Covenant. Scott's latest spends its first hour setting up a familiar battle between human colonists and angry xenomorphs, after the former decide to investigate a mysterious distress signal from a nearby planet. Yet after expertly going through the tried-and-true monster-movie motions, the director then shifts gears by turning his prime attention to Michael Fassbender's android David—who, it turns out, is an inhabitant of this ancient world. Face-huggers, back-bursters, mecha-doppelgängers, and the most narcissistic-homoerotic sequence in sci-fi history soon follow, with the action immaculately designed for suspense, scares, and sly sinister humor. At once a rousing blockbuster spectacle and an inventive expansion of the franchise's core themes, it's the rare prequel to truly justify its existence. An opening sequence involving a deer breaking into a school sets an appropriate doom-laden mood, which Phillips expertly amplifies while simultaneously capturing a very real, complex sense of budding masculine desire, confusion, and rage. The Square Taking aim at a wider variety of targets than he did in his prior Force Majeure, director Ruben Östlund goes after art-world pretensions, media sensationalism, and our inability to uphold basic social contracts with The Square, a sprawling work of satiric confrontation. Atomic Blonde With Blondie style and John Wick ferocity, Charlize Theron strikes a peerless ass-kicking pose in Atomic Blonde, director David Leitch's electric Cold War extravaganza. Straddling a fine line between exploitation and empowerment, this adaptation of a 2012 graphic novel The Coldest City is a narratively tangled affair—told in unreliable flashback by its protagonist—about Theron's MI6 spy navigating a sea of Berlin duplicity on a mission to learn why her espionage cohort-lover was murdered. The hunt for a coveted list of covert agents follows, with KGB baddies and James McAvoy's dubious colleague complicating matters to a head-spinning degree. Such storytelling confusion is part and parcel of a film that, at every turn, thrillingly plays it both ways, replete with Theron's heroine casting doubt on her allegiance to her interrogative superiors Toby Jones, John Goodman while also seducing Sofia Boutella's Frenchwoman. More importantly, from an early apartment skirmish to a late hallway throwdown—one-against-many conflicts defined by stellar choreography and a piercing sense of pain and exhaustion—Theron indisputably seizes cinema's action-queen crown. Set in 2002, her story is one of romantic ups-and-downs—with both Lucas Hedges and Timothée Chalamet playing romantic suitors—and familial tension, the latter felt in her strained relationship with her prickly mother a phenomenal Laurie Metcalf. A sterling supporting cast also featuring Tracy Letts and Lois Smith further bolster this distinctly drawn tale, although it rests on the able shoulders of Ronan, whose fierce and funny embodiment of Lady Bird is downright irresistible. Lucky The late Harry Dean Stanton could have received no better big-screen swan song than Lucky, a Western ode to the ravages of time, the mysteries of mortality, and the inimitable laid-back cool of its leading man. Good Time Arguably the finest male performance of the year comes courtesy of Robert Pattinson in Good Time, the latest grungy New York City street drama from rising superstar directors Ben and Josh Safdie Heaven Knows What. In this breakneck nocturnal thriller, Pattinson is Connie, a low-level hood who finds himself on a desperate search for bailout cash after a bank robbery goes awry and his accomplice—his mentally challenged brother Nick Ben Safdie —is arrested and given a one-way ticket to Rikers Island. With a scruffy goatee, disheveled hair that he eventually bleaches a garish blonde, and amoral desperation in his eyes, Pattinson proves a mesmerizing man on the run, his motivations cloudy, his behavior unethical, and his every decision more foolhardy than the last. The Killing of a Sacred Deer Colin Farrell and his The Lobster director Yorgos Lanthimos reteam for another bonkers social critique with The Killing of a Sacred Deer, a pitch-black comedy of misery whose laughs spring forth from the mounting insanity of its story. Dawson City: Frozen Time Hundreds of reels of silent movies—those that were buried in a swimming pool, rather than just tossed into the Yukon River—were unearthed in 1978 in the northern Canadian town of Dawson City, thus presenting a window onto a cinematic world that was assumed to be lost forever. Like in Punch-Drunk Love, Sandler does an earnest, endearingly damaged variation on his trademark goofy-exterior-masking-interior-rage persona as Danny, who along with half-brother Matthew Ben Stiller and half-sister Jean Elizabeth Marvel , has been thoroughly shaped—mostly for the worse—by his faded-artist father Dustin Hoffman. Available to stream on. The Blackcoat's Daughter Director Osgood Perkins is the son of Norman Bates himself actor Anthony Perkins , but he proves to be a horror maestro in his own right with The Blackcoat's Daughter, a beguiling descent into dark, demonic places that's all the more chilling for refusing to chart a simple straight-and-narrow course. In upstate New York, Kat Mad Men's Kiernan Shipka is left by her parents to spend winter break at her boarding school alongside more popular Rose Lucy Boynton ; meanwhile, Joan Emma Roberts endeavors to hitchhike her way to the school, eventually nabbing a ride with a contentious couple James Remark and Lauren Holly. What these three girls have to do with each other is a mystery to be unraveled. It's ultimately far less important than the overarching air of loss—of parents, of virginity, of adolescence—and grief that consumes them. It eventually becomes clear that all is not right with this institute and its Satan-admiring? Yet what lingers is the pervasive fear of abandonment, all of it encapsulated by Roberts' final, unforgettable primal scream. I Called Him Morgan Lee Morgan was one of the mid-century jazz scene's brightest lights, until his life was cut tragically short when his wife Helen fatally gunned him down in a New York City nightclub on the snowy night of February 18, 1972. Using copious archival footage, newly recorded interviews with friends and collaborators, and, most illuminating of all, a tape-recorded 1996 interview with Helen made one month before her death, Kasper Collin's transfixing documentary I Called Him Morgan recounts this sad real-life saga as two separate stories—Lee's and Helen's—that eventually dovetailed, intertwined, and then combusted in horrific fashion. Abandonment, drug abuse, and betrayal all factor into this sorrowful equation, as Collin assuredly conveys the messy stew of passion, need, ego, loneliness, and fury that eventually begat such a calamity. In doing so, it recognizes the jazzy spirit of Lee and Helen's doomed romance—and, also, the riffing-our-way-forward nature of life itself. The Lost City of Z Acclaimed American filmmaker James Gray Two Lovers, The Immigrant ventures for the first time outside New York City—and into the dark heart of the Amazon—with The Lost City of Z, an adaptation of David Grann's 2009 non-fiction book of the same name. Such a geographic relocation, however, does little to alter Gray's fundamental artistic course, as his latest—about early 20th century British explorer Percy Fawcett's Charlie Hunnam repeated efforts to locate a lost South American civilization that he believed to be more advanced than any previously discovered—boasts his usual classical aesthetics and empathetic drama. Energized by a hint of Apocalypse Now's into-the-wild madness, this entrancing period piece is at once a grand adventure, a social critique about class and intolerance, and a nuanced character study about an individual caught between his love for—and desire to escape—his environment. Led by Hunnam, Robert Pattinson, and Sienna Miller, it's also one of the finest-acted dramas of the year. Such orderliness is toppled by his relationship with a waitress, Alma newcomer Vicky Krieps , who soon becomes his model and his companion in his house, which he also shares with his severely no-nonsense sister-partner Cyril a transfixing Lesley Manville. Okja Bong Joon Ho's Okja is many things at once: a rollicking kid's fable about the bond between a young South Korean girl An Seo-hyun and her genetically enhanced super-pig named Okja ; a satiric critique of the corporate food industry; a wacko comedy about transcending cultural boundaries; and a fantastical adventure full of kidnappings and chases, buoyed by over-the-top performances from Tilda Swinton and Jake Gyllenhaal, and culminating with a Times Square spectacular and a Holocaust-esque trip to the slaughterhouse. Most of all, however, it's the year's most exhilaratingly idiosyncratic work, indebted to the spirit of both Steven Spielberg and Hayao Miyazaki, and energized by the distinctive signature of its director. Vacillating between mirthful, madcap and morose on a dime, Bong's latest—about the heroine trying to reunite with Okja after the animal is reclaimed by the conglomerate that created her—is both all over the place and yet assuredly coherent. Whether viewed on a big screen or via Netflix its exclusive distributor , it's a wondrous whatsit unlike anything you've quite seen before. Available to stream on. I Don't Feel at Home in This World Anymore Suspenseful and hilarious, despondent and optimistic, I Don't Feel at Home in This World Anymore is a masterful genre film, one that immerses itself in the small, painful indignities of everyday life, and then casts the battle against those wrongs as a serio-comic odyssey of sleuthing, heavy metal, and nunchakus. After her house is burglarized, nurse Ruth Melanie Lynsky partners with her rat-tailed martial-arts-loving neighbor Tony Elijah Wood to recover her stolen belongings. Their ensuing black-comedy adventure is grimy, bloody, and ridiculous, as director Macon Blair best known for his performances in Jeremy Saulnier's Blue Ruin and Green Room pitches his material as an absurdist neo-noir saga about combatting existential despair. Available to stream on. Columbus As strikingly unique as the Indiana buildings its characters visit, Columbus is a boy-meets-girl tale that cares less for romance than for the unlikely, intrinsic ties that bind seemingly disparate souls. At a seaside home, Marjorie Lois Smith spends her final days conversing with a holographic projection that resembles her late husband Walter Jon Hamm , all as her daughter Tess Geena Davis and son-in-law Jon Tim Robbins cope with her failing health and their own personal and marital issues. Dunkirk Christopher Nolan dispenses with the exposition in favor of immersive aesthetics with Dunkirk, a dramatic account of the WWII evacuation of Dunkirk, France's beaches in 1941. Fractured between three interwoven time frames and perspectives land, sea and air , and shot almost entirely in 70mm IMAX—which stands as the ideal format in which to see this overwhelmingly experiential work—Nolan's wartime tale cares little for character detail or contextual background. Instead, it thrusts viewers into the chaos engulfing a variety of infantrymen including Fionn Whitehead and Harry Styles , commanders primarily, Kenneth Branagh , fighter pilots led by Tom Hardy , and civilian boatman notably, Mark Rylance , all of whose sacrifice, selfishness, cowardice, and heroism is thrown into sharp relief by Nolan's grand set pieces. Through its towering scale, superb staging, and inventive structure, Dunkirk melds the micro and the macro with a formal daring that's breathtaking, along the way underscoring the unrivaled power of experiencing a truly epic film on a big screen. Lady Macbeth Hell hath no fury like a woman oppressed, as is shockingly born out by William Oldroyd's phenomenal feature directing debut—an adaptation not of the Bard but, rather, of Nikolai Leskov's 1865 novel Lady Macbeth of the Mtsensk District. In a breakout performance of coiled intensity and ruthless cunning, Florence Pugh is Katherine, a young woman sold into marriage to an older landowner Paul Hilton , whose nastiness is only surpassed by that of his domineering father Christopher Fairbank. That union is rife with problems from the start, though despite the film's Shakespeare-referencing title, the path it wends is an original and horrifying one. Suggesting a period piece version of a film noir saga as envisioned by Stanley Kubrick, this twisted feminist drama is rooted in contentious racial- and gender-warfare issues, employing a meticulous formalism to recount its cutthroat story about Katherine's at-any-cost attempts to attain liberation. Like its protagonist, it's a film that's placid and refined on the outside, ferocious and pitiless on the inside. Wormwood is assembled as a hallucinatory, psychologically penetrating collage and plays like a pulse-pounding thriller, a damning indictment of institutional malfeasance, and a chilling portrait of both self-destructive obsession and the elusiveness of truth. Available to stream on.