Browsing Tag

A24

Blockbuster Beat by Daniel Gorman

Hereditary | Ari Aster

June 15, 2018
hereditary

No other company right now is playing the is-it-or-isn’t-is-a-horror-film game quite like A24. Blumhouse has their straightforward genre thrills down pat, with the occasional Purge film to expand their scope and dabble in some totally unsubtle social messaging. But A24, whether working in horror with sci-fi elements or horror as historical drama or horror with apocalyptic, mankind-is-the-real-enemy overtones has collected a roster of polished, deliberately scary arthouse films…

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by Matt Lynch Film

American Honey | Andrea Arnold

October 6, 2016
american-honey

At the start of American Honey, Jake and Star, its two lead characters (played by Shia LeBeouf and newcomer Sasha Lane, respectively) meet and somehow immediately fall for each other as Rihanna’s “We Found Love” blares over a Wal-Mart PA. “We found love in a hopeless place…” goes the song, and it seems like that’s the only working thesis for this deliberately grungy (yet undeniably gorgeous), busted pop fairy tale.…

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by Ty Landis Film

The Witch | Robert Eggers

February 29, 2016
The Witch (2016)

Robert Eggers’s debut film arrives prepackaged with the usual hype garnered by a Sundance homerun. Now a year removed from that successful premiere, however, assessments of The Witch have somewhat shifted into a less relevant realm concerning whether horror movies have to be really scary to be effective, or to leave a lasting impression. A portrait of paranoia circa 1630s New England—just five decades before the Salem witch trials—Eggers’s chilly tale of a Puritan family driven mad by satanic forces and familial discord mostly…

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by Matt Lynch Film

Room | Lenny Abrahamson

November 1, 2015
room

Ma (Brie Larson) and her five-year-old son Jack (Jacob Tremblay) live in Room, the backyard shed of a man who has kept Ma (real name Joy) as a sexual prisoner for seven years. Jack was born in captivity and has no understanding of the outside world; Joy maintains an elaborate series of fabrications to explain the realities of their existence to him. Eventually, the two escape, and the difficult, emotionally wrenching acclimation to a “normal” life strengthens the bond between…

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Blockbuster Beat by Matt Lynch Film

Ex Machina | Alex Garland

April 16, 2015
Ex Machina (2015)

Partway through Ex Machina, Caleb (Domnhall Gleeson), a mousy coder at a giant tech company, and Nathan, his supergenius employer (Oscar Isaac), discuss whether or not an alleged artificially intelligent android Nathan has created is sexually interested in Caleb. Nathan single-mindedly insists that the machine, named Ava (played by Alicia Vikander), and which he has designed to look and act like a human female, is fully capable of engaging in intercourse, and even says…

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by Matt Lynch Film

While We’re Young | Noah Baumbach

April 9, 2015
While We're Young (2015)

Noah Baumbach’s Greenberg opened with Greta Gerwig’s character, a young woman working as a wealthy man’s personal assistant, trying to merge into traffic, saying “Are you gonna let me in?” Baumbach’s latest, While We’re Young, begins with a quote from Ibsen’s The Master Builder in which a young woman suggests to a dying architect that he “open the door to the younger generation.” While We’re Young is in some ways a recontextualization of Greenberg; in both films Ben Stiller plays a man trapped psychologically by his emotional hangups and professional…

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Blockbuster Beat by Matt Lynch Film

A Most Violent Year | J.C. Chandor

December 30, 2014
A Most Violent Year (2014)

Abel Morales (Oscar Isaac) is an ambitious immigrant who has secured a modest toe-hold distributing heating oil. Though he’s just taken a major risk in obtaining a piece of property that will allow him to expand and thrive, his competitors are robbing his trucks and threatening the safety of his employees. To make matters worse, his wife Anna (Jessica Chastain), the daughter of a powerful organized-crime figure, is pressing him to take more illicit measures to protect his investments…

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by Calum Reed Film

The Captive | Atom Egoyan

December 12, 2014
captive

No stranger to treating lurid and uninviting subjects in a chilly fashion, Atom Egoyan’s glacial style of filmmaking has always been both a blessing and a curse. While his distant rendering of melancholy in The Sweet Hereafter— regarded by many as his masterpiece — allowed for a quietly devastating examination of mourning, his arctic methods can tend to distract from the psychological value of his films, as was the case in Where the Truth Lies. Egoyan’s reputation has waned in the past decade…

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