Kijak intercuts between Dean’s small-scale hostage situation and the exploits of Cleo (Helena Howard), a regular patron of his store, who has a habit of shoplifting records and tapes when she thinks his back is turned. Also in theory, surrounding her with a squad of equally fierce and sarcastic female ass-kickers has the potential for the launch of a great franchise: Think Guardians of the Galaxy by way of Barb Wire. Cast: Benedict Cumberbatch, Rachel Brosnahan, Jessie Buckley, Merab Ninidze, Angus Wright, Kirill Pirogov, Keir Hills, Jonathan Harden, Aleksandr Kotjakovs, Olga Koch Director: Dominic Cooke Screenwriter: Tom O’Connor Distributor: Roadside Attractions Running Time: 111 min Rating: PG-13 Year: 2020, Enter to Win Blu-rays of News of the World, Promising Young Woman, and Psycho Goreman, Our Preview Section Is Your Most Complete Guide for All the Films Coming Your Way Soon, Review: Shoplifters of the World Fails to Capture What Made the Smiths Special. This website uses cookies to improve your experience while you navigate through the website. It’s not only a flagrant fetishization of a helpless woman, but also a beautification of the moment of death, which seems to be intended to somehow endear us to the youthful Allen. A fascinating, entirely unique look at a female psychopath. Every day is the same for this schmuck extraordinaire. But it is hard to work up any sustained sympathy for the uptight characters. Chuck Bowen, Wonder Woman is a remarkably buoyant and even laidback film, allowing a long conversation between Diana (Gal Gadot) and Steve Trevor (Chris Pine) to play out uninterrupted, simply basking in the atmosphere of thick sexual tension between them. The finals game, whose flexible play-clock functions as the deadline for the heist, has a more significant role in the climax, but Balagueró doesn’t effectively or intriguingly connect the suspense of a crowd awaiting national football glory to that of a cadre of thieves attempting to reclaim Britain’s legendary lost treasure. 4.4 out of 5. The photography is of highest calibre and the settings are handsome examples of Nature in her most enchanting phases. We connect this to other scenes, like Miriam trapping a spider beneath a glass to keep Caleb from killing it only to forget about the spider and find it dead in the morning, suffocated. Writer-directors Madeleine Sims-Fewer and Dusty Mancinelli’s Violation views a patch of Quebec countryside and the sky above at strange angles. It is mandatory to procure user consent prior to running these cookies on your website. Like the recruited criminals themselves, the film longs to be bad, yet its forced by outside pressures to follow narrow, preset rules. When the girls salute en masse as Hitler delivers a speech on the radio, Six Minutes to Midnight presents their fervent Nazism as a sort of demonic possession that comes over them. But Miller is a spy, sent to infiltrate the school in order to prevent the girls from returning to Germany before the British government can take them as prisoners of war to use as bargaining chips against their powerful fathers. Surely many women can identify with a pregnant Ellen when she cries, “This baby is making a prisoner out of me!” Her initial, recognizable, stir-crazy feeling thus informs our guilty pleasure at Ellen’s audacity when she dives down a steep staircase to abort her baby, Set Piece Number Three, which is certainly the most shocking of her big scenes. Almost every major action taken by both superheroes and supervillains in this “Snyder Cut” is captured in slow motion or decelerates to a near-stop. Gene Tierney -- already a noir veteran from her starring turn in Laura-- plays a femme [click on the thumbnail to enlarge] fatale first encountered on a train. Tierney's Ellen Berent [is] one of cinema's most chilling psychopaths. 2 Favorites . Only the final battle, in which victory is won in part by a kamikaze-like maneuver, delivers a much-needed dramatic kick. Such as it is, Godzilla vs. Megaguirus is largely forgettable outside of how cheap much of it looks. Immediately thereafter she crashes her convertible into the tail-end of a tractor trailer and is catapulted into the air. Wigan Reed. Indeed, like Ezra Miller’s the Flash in this new “Snyder Cut” of the film, he delights in watching moving things come to a halt—and the effect is often torturously tedious. apostate delivers the requisitely rosy take-home message: “We are just two people, but we can change the world.” Perhaps that platitude is true on some level, but given the nature of the relationships between the K.G.B., C.I.A., and MI6 during the Ironbark saga, it feels as if a more complex lesson about the possibilities for peace in the face of great-power rivalry has been conspicuously elided. Neglect. The weightlessness of fights rendered with CG is compounded by that of fights between people suspended in water, and the sexlessness of superhero movies is only emphasized by the perfunctory romance between two leads who seem to have been cast largely because they look good dripping wet. Leave Her to Heaven was a great “find”, and it is one of those movies you feel bad because you should already know it if you haven’t seen it. Though its tale of espionage and international intrigue is based on a true story, The Courier is less interested in exploring the complex realities of the Cold War than in regurgitating some of the more tired artistic tropes about the era. Shazam! Please enter your email address and we will email you a new password. Set Piece Number Two: Ellen sits in a rowboat, her eyes hidden behind ‘40s sunglasses, and calmly watches her crippled brother-in-law Danny (Darryl Hickman) drown (Stahl implicates us in her sociopathic behavior by making Danny a fairly unbearable boy of the “gosh golly swell!” variety). Capable of moving so fast that time slows down for him, Barry Allen’s alter-ego perceives reality in a way that’s particularly attuned to Snyder’s digitized world of comic book fantasy. Reviews There are no reviews yet. Billy Batson (Asher Angel) is a prickly 14-year-old foster kid who’s transformed by a wizard (Djimon Hounsou) into the adult Shazam (Zachary Levi) and tasked with defending the world against the Seven Deadly Sins. This new Justice League features an opening two hours mostly consisting of scenes that could be interchanged with each other with little effect on the story’s coherence. Like Godzilla himself, these films have endured, as the franchise is now in its fourth cycle, and with the exception of the Millennium series (which started in 1999 and ended in 2004), they’re inseparable from the period in Japanese history during which were made (and named after). The hyperactivity that propelled films like End of Watch and Fury is ideally suited to this material, but Suicide Squad never gets to be a manic, freewheeling alternative to the genre’s propensity toward dour severity and increasingly uniform aesthetics. At the center of the movie is Tierney’s Ellen, a monstrous amalgam of Hedda Gabler, Jackie O, and a zombie; she wants to have her husband Richard (Wilde) all to herself, at any price. There’s no discernible character arc that emerges to explain or dramatize his entrée into a world of clandestine thievery: He signs up, and every once in a while, he supplies Walter’s crew with a clever idea, while the one woman in their circle, Lorraine (Astrid Bergès-Frisbey), inexplicably makes eyes at him. When they move, the images are awkward, even ugly, so it’s no wonder they tend toward stillness. But by superimposing a frenzied, completely fictional spy adventure onto this fascinating fragment of pre-war history, Six Minutes to Midnight smothers most of its historical appeal in clumsy melodrama. Leave Her to Heaven is a very odd blending of genres. There are visual motifs here that keep returning like bits of recapitulated music, especially the image of water surrounded by trees, people moving in and out of silhouette, and the cool Technicolor greens slashed by the red of Ellen’s fire-engine lips. Otherwise, Naishuller offers chaos by the yard with no real stakes or emotional reverberations, as Hutch goes against a standard-issue Russian gangster called Yubian (Aleksey Serebryakov). It follows a socialite who marries a prominent novelist, which spurs a violent, obsessive, and dangerous jealousy in her. Simultaneously, Andersen himself comes to grasp the strained and terrifying experience of living as an immigrant in a neighborhood that’s also, like the police department, fatally under-supported by the government at large. If this all sounds dull and oppressive, that would almost seem to be the point. Clocking in at least 40 minutes longer than it needs to be, the film manages to encumber itself with side excursions without making the plot really any more complicated than blocking Max’s (Pedro Pascal) drive for world domination. From the very beginning, we see writer Richard Harland (Cornel Wilde) arrive in Maine with remarks about how he just spent two years in jail. As these two archetypes uneasily banter while driving around in a patrol car, waiting for Copenhagen to erupt in violence, one is primed for a traditional morality tale in which Høyer’s naïve perspective is essentially validated, though Hviid and Ølholm upend such expectations. We’re committed to keeping our content free and accessible—meaning no paywalls or subscription fees—so if you like what we do, consider becoming a SLANT patron, or making a PayPal. And while revenge is a dish that’s often satisfyingly served in films such as this, there’s a pervasive disorientation and uncertainty at play here that makes what Miriam does to Dylan feel truly uncomfortable, especially considering the duration of the act of revenge. Kiss’s stand-in is Dean (Ellar Coltrane), a mild-mannered record store clerk. At their best, these performances suggest the youthful charm of something like Dazed and Confused, though Shoplifters of the World is a bit too polished and lacking in period detail to achieve the effortless joy of Richard Linklater’s classic. All rights reserved. But Nobody simply doubles down on the genre’s most immoral implication, for unquestioningly equating manliness with brute violence. It’s also very much a historically present-tense film, giving us a Superman for a post-9/11 world—not unlike Superman Returns, albeit more explicitly. But with no characters of substance to illuminate, even this memorable image with its shocks of light makes only a fleeting impression. Jake Cole, This re-edited and partially re-conceived and re-shot version of Justice League repeatedly, almost compulsively, enacts different ways of slowing its momentum—evident in the ossification of its heroes into staid figures, the creeping inertia of its aimless plot, and the entropic dispersal of digital objects into particles. On the occasion of the release of the four-hour extravaganza, we ranked the titles in the DC Extended Universe from worst to best. The introduction of Wonder Woman (Gal Gadot) features her gratuitously hurling a hostage-taker skull-first into a wall, turning his head to jelly, and then blowing the leader (Michael McElhatton) of a group of terrorists into smithereens. There are a few mentions of Cleo’s difficult home life, and hints that one of her friends might be struggling with his sexuality, but there doesn’t seem to be any reason for them to be invested in this music instead of literally anything else. A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl's best-known film. To the film’s credit, it smartly treats this premise as inherently absurd, embodied right away in Billy’s inability to stop cracking up when he’s first presented with this quest. A fevered yet clinical study of jealousy, Leave Her to Heaven is probably John M. Stahl's best-known film. Most perplexing are the efforts taken to disguise the fact that this was a Godzilla film in the first place, given the erasure of the monster’s name and his iconic roar. Frederik Louis Hviid and Anders Ølholm’s Enforcement is a lurid urban thriller set mostly within the crime-ridden, minority-heavy neighborhood of Svalegården in Copenhagen. In many ways, it is far removed from the sober, intense concentration of Stahl’s major and underseen ‘30s soap operas; his early movies were deliberately plain and spare, while Leave Her to Heaven is overpoweringly artificial and rococo, with intimations of neurotic fantasies churning away underneath its lacquered, rotogravure images. All she wants is a little privacy with her husband. Leave Her to Heaven Fox Home Entertainment 1945 / Color / 1:37 flat full frame / 110 min. Even the opening sequence, in which high-ranking G.R.U. But the riot gradually reshuffles these relationships, as Andersen develops compassion for those who he routinely harasses while Høyer’s hands get unexpectedly dirty. Such unique beauty highlights how deserving Biollante is of a better and less forgettable film. In the midst of this courtroom letdown, Stahl focuses our attention on an ostentatious window above the witnesses’ heads that is surely meant to be Ellen’s Cyclops-like eye watching over her own diabolical handiwork. By clicking “Accept”, you consent to the use of ALL the cookies. 453 global ratings. This Godzilla—known informally as Cozzilla—isn’t merely unpleasant, but also depressing. As with everything, especially something as notoriously difficult to categorize as noir! My own copy to watch over and over again of cinema 's most psychopaths! All sounds dull and oppressive, that would almost seem to be the undoing of them both and. And for taking extreme measures belief in all-embracing damnation Heaven ( the Collection... Gothic psychologizing melodrama, so it ’ s Oscar-Nominated Soul Arrives on Disney Blu-ray, review: Paul.! The titles in the digital restoration of Leave Her to Heaven ( the Criterion ). 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