Leigh Whannel (Upgrade) brings us a new twist on a classic Universal monster. “The Vast of Night” is set in the 1950s in a small town in New Mexico, and if you know your UFO crash-site geography, you might be able to guess where this story is headed. A recently widowed young mother will go to any lengths to protect her children as she seeks the truth behind her husband’s murder. One of the highlights of 2019’s Fantasia Fest, we can’t wait until the rest of the fans can get eyes on this visceral crime-thriller.
The shape of Alex Thompson’s winning “Saint Frances” is familiar enough: a disaffected and unattached millennial finds purpose and meaning in an unexpected connection with a spunky kid who forces her to grow up and face the real world in all its terrifying glory. God’s Own Country tells the story of Johnny, a kid from the Yorkshire countryside and underclass. She’s an agoraphobic psychologist convinced she has witnessed a murder across the street from her apartment. Enter: Director Autumn de Wilde’s lavish but loyal “Emma” (stylized “Emma.”), an indulgent movie about indulgent people that dares to imagine how — on a long-enough timeline — the whole of human existence might be no more important than a straw hat shaped like a fortune cookie, or a navy blue shirt popping against a mustard peacoat, or the romantic misfortunes of an unsophisticated teenage girl as they reverberate through a vain pocket of the English gentry. A grimmer-than-Grimm fairy tale inspired (and ostensibly produced) by Colonia Dignidad — the cult-like Chilean enclave founded by German fugitive Paul Schäfer, an insatiable pedophile who raped the members of his community, provided shelter to Nazi war criminals like Josef Mengele, and tortured Pinochet’s enemies in exchange for his support — “The Wolf House” takes the age-old story of the Three Little Pigs and filters it through the warped mind of a profoundly traumatized little girl until it no longer resembles a fable so much as it does the final minutes of “Twin Peaks: Fire Walk with Me.”. A small-town Oregon teacher and her brother, the local sheriff, become entwined with a young student harboring a dangerous secret with frightening consequences. here is something both exciting and daunting about the beginning of a new film year. You can just feel the passion from this simple but charming low-budget movie capturing the chemistry of music making. The emotional range of the film will take the audience from the depths of empathy to laughing out loud, but there is no compromise to the weight of each moment. We are home to the best movie and TV show suggestions across streaming platforms and across over 20 countries. Your privacy is safe with us. Directed by Greta Gerwig, Lady Bird is a coming-of-age drama starring Saoirse Ronan in the titular role. Produced by the ubiquitous Jordan Peele, the new Candyman revives the hook-handed killer originated in 1992’s genuinely terrifying Bernard Rose film, but with a black and female director and predominantly black cast – which ought to mean the frustratingly ambiguous racial themes of the original can finally be given their due. When Elly vanishes without notice, the questions that follow expose the group to unexpected levels, and eventually pose subtle yet sincere questions about gender, politics, and the delicate balance modern-day Iranians live in. But the past is past, and now we turn our attention to 20 independent horror films that you should keep on your radar in this new year, in no particular order. Yang infuses his earnest, semi-fictionalized story (inspired by his own father’s experiences) with the evocative narrative traditions of modern Asian cinema, from Wong Kar Wai to Edward Yang, resulting in a rich and intimate atmosphere at every turn. With his retro, lo-fi, low-budget first feature, director Patterson should easily expect Hollywood to soon start throwing plenty of higher-concept genre fare at him, and on the basis of the supreme confidence of “The Vast of Night” alone, he’s ready for it.
Whoever decided to let Steve Coogan have his way with the script, it was a brave and wise choice and together this cast and crew have produced a wonderful and important piece of cinema. It’s a work that elicits sympathy and manages to uplift the violent event to a human level. Speculated to be closer in spirit to the original Stephen Sondheim musical than the iconic 1961 film, this new version casts Ansel Elgort as Tony and newcomer Rachel Zegler as Maria – the latter, incredibly, beat out more than 30,000 candidates for the role, after submitting an audition video via Twitter. As Jackson wrote in “The Haunting of Hill House”: “No live organism can continue for long to exist sanely under conditions of absolute reality.” As Jackson, Elisabeth Moss — comfortably inhabiting all sorts of haggard makeup that she wears like a layer of cobwebs — embodies the author as an irritable grandma who’s been cooped up for long enough to haunt her own house. A man in his thirties travels to a remote cabin to reconnect with his estranged father. It’s often said that trying to make a comedy movie featuring a character with cancer is just a bad idea. That is how Oliver Tate can be described, and generally the whole movie. Pitched somewhere between “Air Force One” and “United 93,” director Patrick Vollrath’s feature debut transforms the hijacked plane scenario into an unnerving real-time thriller set exclusively within the confines of the cockpit.
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