This morning at MFR is getting A24-centric this morning, as we now have the trailer for A Ghost Story. It says Rooney Mara and Casey Affleck, who are reuniting again with Ain’t Them Bodies Saints director David Lowery. It’s not what you think it is…
Here’s the trailer:
In this singular exploration of legacy, love, loss, and the enormity of existence, a recently deceased, white-sheeted ghost returns to his suburban home to try and reconnect with his bereft wife.
I certainly wasn’t expecting this sort of movie when I clicked on the trailer. You see the A24 logo, A Ghost Story for the title, you think one thing and get another. But what we get instead of some haunted house tale looks to be an entirely new, cool, fascinating story about the endlessness of time? Whatever it is, I have been sold. This looks like a heavy tale.
A24 continues its consistent run of quality, low-key horror films with The Blackcoat’s Daughter. Oz Perkins’ unsettling, hypnotizing movie is a slow burn collage of countless other horror films, only it isn’t here to tell a recycled story; it uses familiarity as a means of misdirection.
The majority of the runtime, we are wound tight with dread, pulled in by the threatening score, kept intentionally off balance, always curious to the point of madness as the parallel stories unfold. The first involves Rose (Lucy Boynton) and Kat (Kiernan Shipka, Sally Draper from Mad Men), two boarding school teens whose parents mysteriously never made it to the school pick them up for winter break. With no real options, the headmaster leaves the two girls at the school under the thumb of two weird ass, curiously dressed nurses. At least I think they’re the nurses.
The second story is Joan’s, played by Emma Roberts. Joan is a drifter at a bus stop, one who catches the eye of Bill (James Remar), a good samaritan with a less enthused wife (Lauren Holly) along for the ride. Bill gives Joan a ride, and almost for the duration of the film, motives in this car remain muddled. Perkins’ direction never shows his hand too early, sometimes not at all. The ambiguity of people’s demeanor and motivation in both stories create an uneasy disorientation.
Things start happening, phones in hallways ring. Things go bump in the night. And I don’t want to spoil any part of the film so let’s leave the plot description here.
As these two storylines converge, The Blackcoat’s Daughter pivots between a dozen familiar tones and settings. Remnants of boarding school slasher films, the supernatural, haunted house films, and any number of atmospheric thrillers echo here, but they’re all used to keep us off balance while we put the puzzle together. The year isn’t given, but it definitely feels like we’re in the mid 90s; fitting that the film then reminds me of a young David Fincher. Perkins and cinematographer Julie Kirkwood use wide lenses and set shots where some young filmmakers would eagerly employ the handheld or shaky cam; it’s an aesthetically pleasing descent into madness.
Roberts does what Roberts does best, plays introverted and “troubled” as well as anyone her age. And Lucy Boynton is terrific at times as Rose. But it’s Shipka’s work as Kat that stands apart. In her limited screen time on Mad Men, Shipka proved the more mature angles of the show weren’t too big for her. Here, she pushes forward with that nervous energy and cold gaze she perfected as the put upon daughter in the show. She handles a challenging part with a sort of seasoned confidence rare in young actresses.
The Blackcoat’s Daughter isn’t without a few missteps. Characters have to make a few of those horror-movie decisions – investigating a noise, being too trustworthy, etc. – and even though part of the brilliance of the film is its ambiguity, it’s perhaps too open ended for its own good. The ends are just a little loose. But these are minor quibbles with a film that is another terrific genre entry from A24, the studio who brought us The Witch, Ex Machina, and Green Room (and pretty much everything else they do except Tusk).
A brand new trailer for Spider-Man: Homecoming has been released! Watch it below.
What are your thoughts? Are you looking forward to seeing Spidey’s first outing in the MCU? Comment below, let us know!
“A young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, begins to navigate his newfound identity as the web-slinging super hero in Spider-Man: Homecoming. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey, Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.”
Spider-Man: Homecoming features Tom Holland, Michael Keaton, Donald Glover, Zendaya, Marisa Tomei, Robert Downey Jr., Jon Favreau, Tyne Daly, Tony Revolori, Bokeem Woodbine, Hannibal Buress, and Martin Starr.
FX Networks’ Legion has been one of the most unique spectacles on television this year. The show’s score has played a crucial role in immersing viewers into this mad world. Ahead of the season finale on Wednesday, March 29th, I had the opportunity to speak to the show’s composer, Jeff Russo. Writer/producer of the show, Noah Hawley, has a special partnership with Russo. The two also collaborated on all three seasons of Fargo.
What is the process like when working with Noah?
When working with Noah, it’s different from any other project I do. We sit down very early in the process, right around the time he finishes the first script. We discuss music and I go off and start writing themes, ideas, geographical locations, and feelings for the whole piece. That continues to develop throughout the entire series. I start to look at picture when it’s ready, begin to edit pieces, and rewriting to picture. The process starts very early, Noah believes the music is a crucial part of the story telling. It plays a very important role early on. His writing is super visual and evocative, it’s easier for me because it points me in the right direction.
What kind of preparation did you go through for Legion?
In preparation, we didn’t really talk about the comic books, he had asked me to read a book called Hallucinations. There was a chapter on auditory hallucinations and how people can actually hallucinate sound. As well as visual hallucinations, how it feels and what it sounds like when someone has a hallucination. We talked a lot about Pink Floyd’s Dark Side Of The Moon, how it’s the sound of schizophrenia for the 1970’s. I actually went out and found a late 1960’s synthesizer, the same kind they used on the album. We were interested in going that deep with it. Noah said he wanted that sound to very much be apart of this world. That being one of my favorite albums of all-time, it was all very exciting to me.
Legion has a very diverse spectrum of emotion and theme. One of the stronger aspects as the series unfolds is that of horror. What is your background in the horror genre?
It’s funny, I have no background in horror. I’ve seen my fair share of horror movies but nothing was a touchstone for me as far as horror movie music. I went on instinct on what sounds would be eerie, creepy, or scary. We would much rather not use music to scare people. We would rather use it to make people uncomfortable in a horror-type setting. In this particular instance, it’s much more effective to make someone feel uncomfortable. If the picture doesn’t scare them, we’ve already failed.
Noah and yourself seem to have a collaborative chemistry similar to what you find between band members.
Absolutely, Noah was also a musician in a band during college. We share a love for the same type of music. We definitely have a musical forehand, that has become very handy over time. He can look at me and say “You know that one thing you did that one time? Try that.” And I’ll know exactly what he means, that kind of shorthand.
I like the notion that you guys are a package deal.
I’d like to think that, but you never know as people grow and change. Up to now, I’ve done pretty much every project he’s done. I very much feel like we’re a band, so to speak.
Were there any scenes, during production, that stand out as particularly fun?
Having to put together a version of Bolero by Maurice Ravel was fun. Writing the themes for this was great, I got to merge a lot of the orchestral with the synthetic. That was a lot of fun for me. I did something in Episode 8 that hasn’t really been done in television. Without giving it away, the whole show begins with an instrument that you will have not heard on TV.
How does the creative process change from Legion to Fargo?
They’re like two different animals altogether. Two different musical approaches, styles, and two totally different narratives. It’s like washing myself clean, like a pallet cleanser. It was difficult to jump back and forth when writing both at the same time. Sometimes it’s nice to do that and provide yourself with a clean pallet. However, with Legion and Fargo, they’re so diametrically opposed that it was like doing a 180. I find myself writing something for Fargo that would’ve worked for Legion, and have to scrap it.
Is there a genre that you haven’t been able to touch on yet in your career that you would like to?
Now that the superhero/sci-fi thing has come to fruition with Legion, andI feel really good about it. I’ve always wanted to make a true Western. I’ve yet to be asked to do one.
The second season of Legion was announced, Jeff says they’re already starting to talk about it. He’s finishing up the first couple episodes of Fargo season three right now. That premieres April 19 on FX. As soon as he wraps up on Fargo, they’ll start diving into Legion season two.
He’s currently working on a show for Netflix called Altered Carbon, based on a series of books by Richard Morgan. Jeff is also working on a show for Starz called Counterpart starring JK Simmons. As well as a movie called Lizzie, A psychological thriller based on the infamous 1892 murders of the Borden family.
If you aren’t already watching Legion, do yourself a favor and dive in. Don’t let superhero fatigue keep you from this one, it’s worlds away from CW or Netflix shows.
What’s your favorite episode from season one? Which moments did the music grab you the most? Let us know in the comments below!
Watching Sunday night’s episode of The Walking Dead, I flinched at Rapey Davey leaning into Sasha and then beginning to unbuckle his belt. I felt my stomach tighten in fear as Negan then entered her cell. Any woman who has been through a sexual assault watched that moment in horror.
Then, Negan entered Sasha’s cell.
For a moment, given Negan’s treatment of women as objects, I expected him to join Rapey Davey. I watched Jeffrey Dean Morgan’s face as he made the “Negan Evil Smirk.” I watched him talk to the underling, almost as if he was going to let Rapey Dave go free. Negan is the villain. We expect villainous things. After all, he’s used Lucille to bash in several brains and shoved a doctor in a furnace. It’s not like we’re talking someone averse to violence.
Then he stabs Rapey Davey through the neck.
I totally cheered. I mean, really, if you were a woman watching that? It’s something you’ve wanted to do to any rapist you’ve ever met.
Then, Negan said my favorite line ever. He congratulated Sasha for her
Beach-Ball-Sized Lady Nuts
In one episode, Negan became a feminist hero. But, he’s a sociopathic feminist hero. It’s a really awesome approach to the character.
Here you have this guy who objectifies women. He sleeps with them. He uses their loved ones as bait to obtain sexual “favors.” For all intents and purposes, he’s nothing more than a sex trafficker of the apocalypse.
Here’s the thing, sociopaths are different from psychopaths. Sociopathy, as defined by Jack Pemment of the University of Mississippi Biology Department, “is indicative of having a sense of morality and a well-developed conscience, but the sense of right and wrong is not that of the parent culture.” Indeed, the same article notes, “The fact that sociopaths do have a sense of morality and a sense of right and wrong reflects that they have beliefs about the social world.” Moreover, this signals that sociopaths have a sense of empathy.
Taking this a step further, we can argue that Negan’s sociopathic tendencies make him more likely to be a feminist specifically because his own sense of morality places him outside the mainstream culture.
The Walking Dead has been noted to have a woman problem. Say what you will about Michonne being a “strong woman,” she’s still got that Strong Woman Trope thing happening. So fine, feminism isn’t at the top of Kirkman’s list of things he’s excited about. (And lest you think it’s just in TWD,look how his television representation in Outcast spoiled one of the best scenes in ever.) Television is entertainment, whatever. I get it.
However, the sociopath, the guy who shoves doctors into furnaces, is the one who believes in the idea of gender equality and merit based awards.
Think about that for a second.
Now that you have, let’s review what this says about society. Here we have a reprehensible yet charismatic character. He rules by fear. His entire method of ruling is violence. As a sociopath, he has a sense of morality that is outside the mainstream.
Rick constantly has to “save” the women. Morgan tries to tell Carol how to live her life. Daryl is either looking for a mother or a daughter. Abraham cheated on Rosita almost without a real care. Most of the men see women as some sort of mother, wife, whore trope.
For the most part, the women in TWD end up as helpers to the men. They are valued as those who can do the work that the men don’t want to do. They continually have to prove that they can be competent. Even when zombies have taken over the world, women still have to prove that they’re useful outside of the domestic space.
More importantly, Negan’s feminism is counterpoint to Gregory’s misogyny. Maggie slowly proves to The Hilltop that her strength lies in her character as much as her physicality. She strips Gregory of his leadership qualities by noting in front of others he had never killed a zombie before. Her quiet, steely, passive-aggressive comments undermine Gregory’s illusions of power. She shouldn’t have to be passive-aggressive. Yet, because Gregory represents a hegemonic, mainstream culture, that’s the only way a woman can be considered more powerful than a man.
Meanwhile, we have the most charming sociopath. Negan knows that Sasha hates him, wants to kill him. Yet, he respects her the way he would respect a man specifically for that. We could argue that by masculinizing her with the comment “lady balls” he’s arguing that she is more like a man than a woman. However, a close reading analysis could say that by noting she has “lady” balls, he’s particularly pointing out that she’s not acting in a masculine way. He’s specifically acknowledging her femininity and equating it to the masculine sphere. It takes a sociopath, someone who plays by his own rules, someone who acts outside of traditional morality, to accept a woman as a de facto equal.
Think about that for a short minute.
Only the sociopath accepts a woman without first questioning the weakness of her gender or expecting her to conform to traditional gender roles.
Perhaps, it’s not that he thinks all women are objects. Maybe he just really thinks those other women aren’t his equals because they’re weak. After all, in a world where skills are at a premium, he killed a doctor because he thought the man had sold him out. He doesn’t respect weak men or weak women.
Negan respects strength regardless of gender.
And he’s a sociopath.
My beach-ball-sized lady nuts and I think that’s a pretty powerful message.
In the latest episode of the FilmKind podcast, Kieran reviews and discusses the first trailer for Zack Snyder’s Justice League. Is there a problem with Cyborg and the CGI? Should the trailer have shown Superman? Find out what Kieran thought in the episode below!
The FilmKind Podcast is an awesome new show discussing the latest movies and movie related content. With amazing weekly episodes and detailed reviews!
Listen To FilmKind’s Review Of The Justice League Trailer Below!
Fueled by his restored faith in humanity and inspired by Superman’s (Henry Cavill) selfless act, Bruce Wayne (Ben Affleck) enlists newfound ally Diana Prince to face an even greater threat. Together, Batman and Wonder Woman work quickly to recruit a team to stand against this newly awakened enemy. Despite the formation of an unprecedented league of heroes — Batman, Wonder Woman, Aquaman, Cyborg and the Flash — it may be too late to save the planet from an assault of catastrophic proportions.
Justice League is directed by Zack Snyder and stars Ben Affleck, Henry Cavill, Gal Gadot, Jason Momoa, Ezra Miller, Ray Fisher, Amy Adams, Amber Heard, and J.K. Simmons. The film will land in theaters on November 16, 2017!
Enter the UnPOP Podcast review of Legendary’s latest giant monster extravaganza: KONG SKULL ISLAND! Come for the guys’ opinions on the (spoilers: incredibly fun) film, the impact it has on the kaiju shared universe and stay for Curtis and Austin’s rescue mission to save Brock from his doomed gig on Skull Island as an adventure tour guide!
(All creature voices, save Kong, were performed by members of the UnPOP Podcast including the monstrously talented Sean Keller).
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In my mind, Disney’s 1991 animated version of Beauty and the Beast is a perfect film. It’s nothing short of a masterpiece, and it still has a place in my top five favorite movies of all time. The 2017 live-action remake, in turn, did something I never thought it would be able to do; it came closer to matching the perfection of the cartoon than I ever thought possible. It was absolutely magical, and judging from the enormous box office returns it’s grossed in just over a week, clearly I’m not the only who thought so.
Because of this, it came as no surprise when Sean Bailey- who runs Walt Disney Studios Motions Pictures – mentioned to Deadline that the studio will be exploring prequel and spinoff ideas for the ‘tale as old as time.’ One of the more popular suggestions people are throwing out on the internet is doing a movie based on Gaston and LeFou’s time in the war, which was a new piece of backstory provided for the characters in the remake. Other suggestions I’ve seen for these potential films are ones detailing the Prince’s childhood, which leads to him becoming a terrible person and turning into a Beast, and one focusing on the romance between Maurice and Belle’s mother in Paris, long before the old man moved his daughter to the poor provincial town they’re living in at the beginning of the classic story.
Personally, my favorite idea for a possible spinoff is one that I’ve yet to see anyone throw around on the internet. I believe Disney should do a live-action reimagining of their animated Beauty and the Beast midquel, Beauty and the Beast: The Enchanted Christmas.
After a tumultuous and much-maligned second season, True Detective Season 3 has been bouncing back and forth between sorta happening and not at happening at all. It may have gotten a shot in the arm today, as David Milch and Nic Pizzolatto are moving forward as a team.
Milch, who produced some absolute gold with Deadwood and NYPD Blue… also produced John From Cincinnati. Can’t win ’em all, I guess. And Pizzolatto, who was widely criticized for the bizarro second season (which I support and which I know will appreciate over time. Trust me , here) and who didn’t have his season one directing partner Cary Fukunaga back for round two, has penned the first two episodes of a potential season 3.
I for one would love to see True Detective Season 3 come together. A wonky season two shouldn’t be enough to derail what could be a terrific anthology crime series. It’s unlike anything else on TV when it works, and perhaps in a few years when people will come to the realization that Season 2 was actually good, the whole series will take on a different feel.
Think about The Wire, whose second season was dismissed by fans for the longest time before a reconsideration changed that a little. Now, True Detective Season 2 is a little more batshit crazy, this we know, but stranger things have happened.
The collaboration between Milch and Pizzolatto hasn’t gone beyond early discussions about the series, but it’s more good news about the show than we’ve had in almost two years.
The much anticipated (and rumored to be pretty scary in and of itself) IT remake is inching ever closer, and we have some photos to prove it.
These new photos that popped up today over at Dark Horizons look to be from a new trailer that should be here Wednesday. And one of these pictures is creepy enough to get me excited.
Nope.
In a small town in Maine, seven children known as The Losers Club come face to face with life problems, bullies and a monster that takes the shape of a clown called Pennywise.
Also, why the sewer pipe clown photoshop job first? That was anything but reassuring! That image was absurd, these are terrific.
Pennywise is played by Bill Skarsgård, and Mama director Andrés Muschietti is behind the camera. If the trailer is half as good as what’s rumored out there, this has serious potential when it opens on September 8.