At several
points over the course of the film, the drama is raised higher than one might expect.
Not exact matches
But all varieties
of horror flick are easily identifiable at this
point, whether they're spooky, low - budget
films (numerous); viscera - stained slasher movies (more numerous); quick - cut zombie flicks (even more numerous); macabre sci - fi, floating - in - space efforts (somewhat less numerous than they should be); sexualized vampiric tales (I trip
over one
of these whenever I get the newspaper);
films of the more critically favored retro - mashup variety (Quentin Tarantino and Robert Rodriguez's Death Proof plus Planet Terror feature Grindhouse); or foreign entries
of the psychological horror variety (the works
of Dario Argento,
of course; Alexandre Aja's
films, which have their defenders; and Juan Antonio Bayona's El Orfanato, which only someone who truly dislikes cinema can dismiss).
A footnote to the
film reveals the extent to which the specifics
of what happened in Boston were and
of course still are replicated the world
over, at which
point Spotlight exists to shine a searchlight on a moment from history that human behaviour tragically refuses to leave consigned to the past.
Of course, as was pointed out before, the attack itself is basically over when the film starts, and it doesn't begin with Charles and Erik but with their elder selves — Professor X (Patrick Stewart) and Magneto (Ian McKellen)-- in the 2020s, where they have put their differences aside to serve as the leaders of the last line of resistance against the effort to eradicate mutant
Of course, as was
pointed out before, the attack itself is basically
over when the
film starts, and it doesn't begin with Charles and Erik but with their elder selves — Professor X (Patrick Stewart) and Magneto (Ian McKellen)-- in the 2020s, where they have put their differences aside to serve as the leaders
of the last line of resistance against the effort to eradicate mutant
of the last line
of resistance against the effort to eradicate mutant
of resistance against the effort to eradicate mutants.
Since,
of course, The Lords
of Salem is essentially a horror movie, it will ultimately go the way
of genre and privilege the supernatural
over the rational, but before that happens, much like the
films that it so lovingly apes — Stanley Kubrick's The Shining, Roman Polanski's Rosemary's Baby and The Tenant, William Friedkin's The Exorcist — it will flex and stretch its ambiguities to uncanny breaking
point.
, a
film that is curiously not represented in Robert Jones» «A Tribute To Female Seduction,» even though the steamy (yet arguably SFW and nudity - free) YouTube supercut amply proves Clooney's
point again and again
over the
course of four butt - wiggling, come - hither - stare - giving, shirt - tearing - open minutes
of female seduction scenes from the last five decades
of movies.
Over the
course of ten years and 18
films, Marvel Studios has slowly built up its cinematic universe, putting vast amounts
of time, money, and effort into introducing and developing its plethora
of characters, all
of which has been leading up to the
point where they would finally come together to do battle against the most dangerous foe any
of them has ever come across.
Richard Linklater's portrait
of an American family
over the
course of 12 years —
filmed so that we watch them all age in real time — could have scored
points simply for being a cool idea.
We are filmmakers and not educators, but what we've learned
over the
course of making this
film is that in this country, a traditional education does not encourage thinking, instead it encourages conforming to a system that doesn't value the individual child and completely misses the
point when it comes to learning.
From the scenes and game footage we have seen thus far, Rockstar has the very essence
of the old west, both from a historical stand
point and
of course some
of the most iconic western
films we have seen
over the years.