Going out lately has been like being stuck in a western – and not just because of the irresponsible attitude towards unlicensed handguns from our state âleadersâ. Stubbornness has become the dominant characteristic in dealing with everyone. So it’s the return to the genre this week, finding solace in a fake murder, expertly executed surprises, and unadorned lesbian energy. As always, look back at back issues of the Scene for more recommendations on what to release: March 26, April 2, April 9, April 16, April 23, April 30, May 7, May 14, May 21, May 28, June 4, June 11, June 18 , June 25, July 2, July 9 July 16, July 23, July 30, August 6, August 13, August 20, August 27, September 3, September 10, September 17, September 24, October 1, Oct 15, Oct 29, Nov 5, Nov 11, Nov 26, Dec 3, Dec 17, Jan 6, Jan 21, Jan 28, Feb 4, Feb 11 February 18, 25, March 11, March 18, March 25, April 1, April 8, April 15, April 22, April 29, May 13.
Meeting by video on demand
There are certain states of being that could just as easily be death sentences in mainstream cinema. It could be the authority figure just days away from retirement, the model working in any capacity in the 1970s, the family pet crouching in the backyard. background shots of the first two reels or of the person teaching a lesson that will help them improve their lives. But worse than any of them are the poor souls who attend isolated residential schools where we never see anything from the outside world and where mysterious rumors surround the very earth. Meeting is a girl school movie with a body tally, and it immediately delivers the title – serving a second shoot in the first 10 minutes, which is the right kind of cutout spillover attitude to have here.
If you want a traditional supernatural slasher, Meeting more or less offers that. Writer-director Simon Barrett (he wrote You are next, The guest, Witch Blair and A horrible way to die) knows the movies you know and finds interesting ways in and around the material. There is a girl fight that seems to emerge from a Tony Jaa movie, the rehearsal of a dancer interacting with Cassandra’s superlative sequence from scream 2, and a moment of magnificent violence that sounds like a cry to the recently deceased Italian splash master Gianetto De Rossi. There are also some nice touches that help the genre as a whole take interesting new paths. A future classic in pajama parties.
The woman at the window on Netflix
The starting point of The woman at the window is a bestselling novel that delves deep into real-life mysteries of all kinds (including a pathological-liar author). The end point is a compromised movie that was sold to Netflix and played out with a large audience of people hungry for suspense and tension who have nothing to do with the news. And in the middle is a sometimes effective, sometimes ridiculous, but never boring gumbo of every kind of thriller imaginable. To put it another way: Any movie starring Amy Adams, Julianne Moore, and Jennifer Jason Leigh deserves your attention. The woman at the window is the kind of messy adaptation that benefits from a nice crate of wine and a powerful air conditioner. It doesn’t hurt that it’s periodically done exquisitely (by Joe Wright), with soul-shaking sets, though sometimes it gets really, really silly in what looks like studio-commissioned covers. .
Anna (Adams) is an agoraphobic child psychologist in the midst of separation from her husband (Anthony Mackie) and daughter following a suicide attempt. She haunts her gorgeous Harlem brownstone, pulling joy and chaos from barrels of wine, old movies, and shifting adventures in pharmacology. But then new neighbors with a weird teenage son (Fred Hechinger giving off serious Emory Cohen-on-To break vibes) move across the street, and before you know it it’s snowing inside, there’s been a murder, and Jennifer Jason Leigh and Julianne Moore seem to be the same person – or are they?
What I initially thought was a timid cover was actually apparently the end of the book, so this one is full of surprises. Surprises like the amount of hate thrown into it, because what’s good certainly outweighs what’s stupid. A lot will depend on how much joy you derive from an unbalanced actress and how much mystery upon mystery you take. More so, there’s one second act reveal that shouldn’t work at all, but it sticks the landing in a way that keeps you on board no matter how crazy things are (and, oh, the they do). When it comes to adaptations of airport bestsellers, this one is something distinctive.
Army of the dead on Netflix
To tell the truth, if Zack Snyder is Army of the dead was the story the parties involved wanted to tell, it could have been done in a less derivative way – or at least in a shorter way. At half past two, this movie shouldn’t have so many loose strands hanging down. And if you let your subconscious kitten start hitting one or two of them, it all starts to unravel. Honestly, I can’t say if the situation is improved or laid bare by the online community embracing time loop theories to explain some of the particularly glaring choices, as well as to balance the prequel and the upcoming animated series. Army of the dead is a great launch for a media empire, as there is already an infrastructure for Snyderians on the internet – and who wouldn’t at least take a peek at Las Vegas overrun by the ravenous undead, laid out in a depth of still weak field does it get on the nerves?
But comparing this film to George A. Romero’s groundbreaking 2004 remake of Snyder Dawn of the Dead compels a viewer to appreciate the contributions of James Gunn, whose script for this film remains the best Snyder has worked with. On the plus side, we get Dave Bautista wearing tiny glasses, which is never captivating, and a pretty nice pinch-hitting performance from Sarah Silverman Program former student Tig Notaro, digitally composed to replace alleged sexual predator Chris D’Elia. There is an abundance of blood and intriguing evolutions in zombiology (as well as deeply silly evolutions) involving possible DNA and alien mechanisms. But there’s also a shameless sifting of plot points and even dialogue from Aliens, as well as a character who might as well be featured as Vasquez 2.0. Considering how well the Snyder fit of Justice League It was when he was unleashed a long time ago (actually, in March), I expected more than that.