I found the documentary enjoyable, but would like to have known more about the creators -- Wiene, Dreyer, and others.
We were really offered nothing in the way of biography or history. The film goes into a bit of depth on "Leaves From Satan's Book" and examines the overlap of Satan, evil and religion. We see how in early years of film, the Inquisition was a popular theme, and therefore good and evil frequently were hard to tell apart. This could have been explored more Enjoy a night in with these popular movies available to stream now with Prime Video. Start your free trial. Find showtimes, watch trailers, browse photos, track your Watchlist and rate your favorite movies and TV shows on your phone or tablet!
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KINGDOM OF SHADOWS
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Crazy Credits. Alternate Versions. Rate This. Director: Bret Wood. Writer: Bret Wood. Star: Rod Steiger. IMDb's Superhero Guide. Just as we have experienced emotional needs and those needs not being met. These are all parts of the human condition. So that, for me, was the really interesting thing to portray. Ultimately, the purpose of something like Midsommar is to challenge people to acknowledge the fact that they can relate to both of these people.
And, ultimately, we do find ourselves in alignment with Dani at the end of the movie. This is a movie about her liberation from a toxic relationship and the catharsis that comes with it, albeit that the catharsis is confusing, painful, complex and not entirely clear. I was interested in giving extra layers of dimensionality to Christian and challenging myself to empathize and relate to a guy who, on the surface, is just an archetypal toxic alpha male. But he finds himself literally stripped bare in this humiliating, exposing place, which is absolutely terrifying. That allowed me to get into the character, looking at him and acknowledging there are plenty of elements of that character that are in me and every single human being on the face of the planet.
I totally agree, dude. I might have been a little bit reactionary myself to the audience! Some scenes that supposedly showed Christian in a more sympathetic light were left on the cutting room floor—obviously, what makes the most sense for the film is what should win out, but is there a part of you that wishes people might see the fuller picture of the character you created?
Partly, but then it would have been a very different film. If the scenes where Christian exhibits more compassion and provides her with stuff she needs in the moment had been left in, the film would be even more divisive and polarizing for an audience than it is. How do you approach those moments? But I wanted to play this guy, further to your point, on his worst day. When you pitch the character there for yourself and allow the character to do questionable things, I think it gives context to everything.
I think to base the character as someone who means well but is acting out their worst aspects of their character in this moment is how I got into it. You never really know completely. Ari in particular is someone who I thought his short films were visionary when I watched them, because I never got to see Hereditary before I signed on to do this movie.
Review: Kingdom of Shadows - Slant Magazine
The script was really interesting, but what he wrote goes far beyond the words on the page. The conversations I had with him prior to signing on to be a part of the film were definitely incredibly encouraging for me. We have a common admiration for a number of quite obscure filmmakers, but some of the best filmmakers who ever lived, nonetheless. To me, that was a sign that this was something I wanted to be a part of and this was a director who valued the artistic merit of the project above all else. Watching movies with an eye to your own development as an artist?
One-hundred percent, man. I absolutely love it. The film is a brutal examination of social isolation and malaise, and the gulf that often exists between men and women. Worried about his father, Shigehiko says that Aoyama should marry again, with a flippancy that suggests how someone might ask a family member to pick up dinner on their way home from work.
Shigehiko is generally sensitive and thoughtful but sees women as accessories. At the urging of his filmmaking partner, Yoshikawa Jun Kunimara , Aoyama holds a fake audition for a melodrama as a way of fishing for young, attractive, and obedient women. The first hour of the film can be read several ways, often simultaneously.
Outwardly, the narrative resembles an innocuous romantic bauble. Rom-coms condition us to see lovers as objects aiding us on our paths toward fulfillment. In this and other threads, there are shades of another classic film of male manipulation and self-isolation: Vertigo. Even innocent Shigehiko confesses to a fear of women, born in part from his dead mother, whose absence failed to prepare him for healthy relationships with the opposite sex.
Shigehiko brings home a girl, and Aoyama cheers him on as one might an athlete making a score—a punchline that feels cute and characteristic of the jokes of many American or Japanese rom-coms but becomes retroactively sinister. In the audition process, an exploitation that Miike ironically stages with the cheeriness of a broad comedy, Aoyama becomes quickly stuck on Asami Eihi Shiina , a young woman who conforms so perfectly to a Japanese ideal of subservience as to seem deranged from the outset.
Aoyama is so determined to see Asami in a particular way as a reflection of his own pain that he misses her personal agency, overlooking her in the way that men in this film habitually overlook women. What Aoyama fails to see in Asami is a chasm of alienation and madness, fostered by the abuse of men, which far exceeds his understanding and experience, and which is expressed by her intelligent yet somewhat affectless eyes and coiled, wiry frame.
Miike also understands that men pay for their sexism, as this is a source of their feelings of hollowness. When Asami paralyzes Aoyama and sticks him with acupuncture pins and saws his foot off with fine wire, actions which Miike stages with a galvanizing calmness, she traumatizes him while providing him with a perverse catharsis. But this interpretation is complicated by several slips in time and perspective.
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In these sequences, Miike renders a free-associative vortex of male neuroses, in which women become interchangeable harbingers of longing and pain. As Audition progresses toward its no-exit finale, Miike gradually informs its atmosphere with the aura of a horror noir, and so the film grows sicker and more neurotic before our eyes.
Later, when the phone finally rings, her lips curl into a blood-freezing smile. Restaurants and alleyways go from being white and sterile to shadowy and inflamed with redness, as Aoyama begins to envision—or hallucinate—fleeting scenes of Grand Guignol atrocity. Weird, stylish, and surprisingly lyrical, Ant-Man , Iron Man 3 , and Doctor Strange attest to the benefits of the old Hollywood-style studio system that Marvel has resurrected: Under the umbrella of structure and quota is security, which can bequeath qualified freedom. Chuck Bowen.
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Nick Schager. Upgraded with the latest CGI hardware but also more shoddy screenwriting software than its system can withstand, Iron Man 2 is an example of subtraction by addition. As another of the character-introducing MCU stories existing mostly to feed new superheroes into the Avengers series, Captain Marvel looks like something of a trial run. Chris Barsanti. Elsewhere, bona fide celebs like Michael Douglas, Michelle Pfeiffer, and Natalie Portman are reduced to glorified extras. Keith Uhlich. What is this, a crossover episode?
After 18 films, the overlords at Marvel Studios have gathered almost all of their indentured servants, er, star-studded stable together into the ever-crashing, ever-booming, and ever-banging extravaganza Avengers: Infinity War. The film is all manic monotony. Strange thing to say about a film featuring Peter Dinklage as the tallest dwarf in the universe. With some notable exceptions, Marvel Studios-produced films usually plateau at a glossy but totally indistinct level of mediocrity, and Thor continues the trend of weakly jumpstarting a franchise based on a Marvel comic with an adequate but instantly forgettable origin story.
Simon Abrams. The growing relationship between Romanoff and Banner is the tender heart of Age of Ultron , and Whedon clearly thrills in the cheesy but heartfelt melodrama that builds between them. Unfortunately, as the film has approximately another half-dozen or so plotlines to tend to, this section of the story barely makes up a sixth of the narrative. Chris Cabin. An early shot introduces year-old pageant hopeful Harlow Miss Philadelphia walking through a crowd of people, angular features instantly setting her apart from the rest and establishing her star potential.
A juxtaposition of a different kind emerges as the queens are shown donning their eveningwear; one of the larger competitors struggles to pull a bra down over her natural plumage, while another rail-thin girl next to her tapes her pecs together to force cleavage. Meanwhile, another muses that gay men are attracted to other men, which tends to make dating difficult for drag queens, an argument that has resurfaced season in and season out on Drag Race. The urge to approach The Queen in as a measure by which our culture has come since before Stonewall is probably unavoidable, given the considerable gains the LGBTQ community has made in just a generation and a half, and has already emerged in the number of new reviews quoting contemporaneous criticism the film received back in the day, most of them either detachedly impressed or reflexively condescending.
T hough it reacts to the death of a single person rather than those of millions, Spider-Man: Far from Home more acutely portrays the lingering aftershocks of grief than Avengers: Endgame. Much of this film finds Peter Parker Tom Holland mourning the loss of mentor and surrogate father figure Tony Stark and struggling to live up to his legacy.
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