Horror Actressing: Anya Taylor-Joy in "The Witch"

by Jason Adams

There is model beauty, and then there is movie star beauty, and they overlap less than you'd imagine. The thing about movie stars is they've got faces that are interesting more than they are perfect, and once our interest has found them their so-called "imperfect" curiosities -- Michelle Pfeiffer's mouth, Daniel Day-Lewis' nose, to be all Age of Innocence example about it -- become in turn cache. Nobody was walking into a plastic surgeon's office asking for Michelle Pfeiffer's lips before 1982 but you can be sure there was a spike in such utterances once "Cool Rider" had come and gone.  

I begin with this to say I knew the second I saw Anya Taylor-Joy's eyes that a star was being born right in front of me. I might have actually missed several important details plot-wise watching Robert Egger's The Witch that first time in 2015, so lost was I in trying, and failing, to find footing astride those eyes' ginormous bedevilry. The film opens on them... perched as they're wont on the the two separate sides of her face, anime teardrops wandering in opposite directions. You wanna live deliciously you stare into those eyeballs for an hour and a half, that's my recipe.

Click to read more ...

Yes No Maybe So: Ammonite

by Nathaniel R

Okay. NOW it feels like prestige film season is about to begin... even though it isn't, not really, at least not in its traditional way. Behold the lovely poster for Ammonite, pairing two star profiles in ethereal fashion, The trailer is even more thrilling. Let's break down the Yes No and Maybe So of it all after the jump...

Click to read more ...

The New Classics: Moonlight

By Michael Cusumano 

Scene: Kevin and Black at the Diner
We consider Trevante Rhodes’s Black carefully throughout the last act of Barry Jenkins’ Moonlight, searching for traces of the younger versions of his character. That we don’t find many is not surprising considering how we’ve seen this child get battered and abused by life. Chiron doesn’t grow from segment to segment so much as he transforms as survival demands. Moonlight’s second movement ends on such a violent act of self-annihilation, we should be surprised to spot any remnant of the adolescent in Black when he walks into Kevin’s diner a decade later. 

And yet despite the intimidating presence Black developed as a barrier against the world, the aspect that unmistakably connects him with his teenage self, and to Little before that, is his fragility. All his outward defenses - the bulked up physique, the sullen manner - hang on him like an ill-fitting suit of armor. When he is in the presence of Andre Holland’s Kevin it looks a stiff breeze would blow him over...

Click to read more ...

Almost There: Jim Carrey in "Eternal Sunshine of the Spotless Mind"

by Cláudio Alves

Before writing this piece, the last time I'd watched Eternal Sunshine of the Spotless Mind was with my now ex-boyfriend. We were at his home, enjoying what was, by then, a rare respite, a valley of peace between mountains of quarrel. I had gained a habit of showing him my favorite films, sharing those beloved treasures with someone I loved, maybe looking for a different way for him to know me. This Michel Gondry surrealistic comedy was one of the few pictures we both seemed to adore, and I remember how, drunk with affection, I swore to never forget him. Even if things ended badly – which they did – the promise was made that I'd never wish to erase him from my memory, from my life. Regardless of the hurt we brought each other, I still think that. What we shared is now an integral part of me and that won't ever change.

The people we share our lives with become pieces in the puzzle of our identity. To love is to reshape that puzzle, pain, and euphoria slotted together. I tell you this because it's impossible for me to watch Eternal Sunshine of the Spotless Mind and Jim Carrey's performance, without projecting meanings born out of love lost…

Click to read more ...

Still 'Unhinged' about moviegoing. What did you see at home?

Some websites are choosing to not cover theatrical releases while it's still unsafe to go to theaters. We're undecided. On the one hand everyone should be free to make their own life decisions and you can't live without risk of any kind. On the other hand, Americans have been exceptionally stupid and belligerent about taking needless risks and demanding that their individual comfort (like not wearing a mask or getting their haircut or whatever) trumps everyone else's actual life. 

Of course in other countries that have not had total grifter clowns in power, they've been able to start the trek back to normal. Sadly until the GOP and their enablers -- a much worse threat to the safety of everyone on the planet than the coronavirus -- are out of power, we're probably stuck in this abnormal hellscape for awhile still.

Anyway, the box office story is that the new Russell Crowe road rage drama Unhinged made $4 million this weekend in the US. That's a huge number considering how many theaters are a) still shut down and b) selling only half their seats in order to comply with distancing guidelines. 

Most of us are still watching movies indoors for the time being. For instance, we finally watched The Assistant (2020) on Hulu. It was good though surely its pin drop sound and growing discomfort would have been more immersive and, thus, effective inside the dark quiet cocoon of a movie theater. So what did you see at home this past week?