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The result is an aesthetic performance piece that feels just like the psychosexual underworld dance extravaganza that Luca Guadagnino’s Suspiria needed to be, replete with a finale that takes up residence in some hallucinatory ninth circle of Hell. Growing old isn’t straightforward for Gloria Bell (Julianne Moore), the only heroine of Sebastián Lelio’s excellent English-language remake of his 2013 Chilean drama. Led by a tour-de-drive flip by Moore, whose expressive work is a few of her best thus far, it’s a small-scale story with a profound understanding of life because it’s actually lived, and felt.
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Epitomized by the yin-yang symbol on which many battles are fought, dualities (masculine and feminine, gentle and darkish, real and imitation, mortal and ghostly) are rampant throughout. If our recollections aren’t really our personal, how do we know who we’re?
His is a conservative celebration of the old at the very second that the new took over (to not point out a wish for a fusion of the two), and an air of wistfulness – and want to battle obsolescence – permeates the motion. Led by DiCaprio and Pitt’s excellent turns as artists trying to stay afloat in a radically reworking trade (and America), it’s a revisionist-historical past fantasy drenched in nostalgia, ecstasy, yearning and blood. As evidenced by his Hero and House of Flying Daggers, Zhang Yimou is not any stranger to dazzling martial-arts action.
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Such was the profound existential crisis confronted by 18-yr-old Alex Lewis when, in 1982, he was injured in a car accident, lapsed right into a coma, and awoke to find that he recognized nobody save for his twin brother Marcus. That afforded Marcus an opportunity to rebuild his sibling with tales about their past – some of which omitted essential occasions from their horrendous childhood. With acute empathy and formal eloquence, director Ed Perkins investigates this surprising tale from the perspectives of each brothers, whose bond was forged by love and belief, and torn asunder by deception and betrayal. As mean, and quite a bit leaner, than its voracious animals, Crawl is an example of B-moviemaking accomplished right. During an apocalyptic Florida hurricane, struggling but talented collegiate swimmer Haley (Kaya Scodelario) goes looking for her MIA father Dave (Barry Pepper), whom she finds within the basement of their old residence, wounded and trapped by a swarm of alligators.
Revelation, resurrection, abandonment and mourning all issue into her haunting story. Buoyed by a script attuned to the sorrowful rhythms of older age (and New England), Jones’ movie rests on the shoulders of Place’s stellar, lived-in efficiency as Diane, a fallible lady whose selflessness is colored by anger and regret. Quentin Tarantino goes again to the 1969 Tinseltown of his desires with Once Upon a Time in…Hollywood, a reverie for that bygone moment when the culture and counterculture collided. Tarantino lavishes his interval milieu, and the mainstream movies and tv of the era, with solar-dappled neon-coloured love.
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Gaspar Noé’s cinema routinely traces the road from harmony to chaos, and that’s once again true in Climax, the impressed-by-actual-events tale of a dance get together descending into hellish insanity. Beginning, portentously, with interviews seen on a television set surrounded by the director’s favorite VHS horror movies, the French auteur’s latest is arguably his least provocative so far. Regardless, it’s still an escalating freak-out scored to thumping electronica and populated by a raft of potential monsters. Often executed in long single takes, Noé’s swirling, floating, slithering camerawork is as dexterous as his bodily agile topics.
Diane (Mary Kay Place) is always looking for others, be they her good associates, her older relatives, or her son Brian (Jake Lacy), who can’t get his drug habit underneath control. Kent Jones’ Diane is a character study of this solitary Massachusetts lady, filled with telling particulars and sharply noticed moments that talk to her Christian altruism, her robust love, and the secrets and techniques that proceed to torment (and, maybe, drive) her.