Geisinger Wyoming Valley Medical Center announces Lana Johnson gave birth to her son, Noah, at 12:41 a.m. Jan. 1, making him Luzerne County’s first baby of 2020. Derek Smith, In 1922, Wilfred James (Thomas Jane) initially scans as a broadly brutish characterization given by an actor looking to disrupt his handsomely aloof image, following a cinematic tradition of expressively filthy, monosyllabic and flamboyantly antisocial characters such as Daniel Plainview and Karl Childers. These great horror films are currently streaming on Netflix. Here, though, we get the sense that Wiig and Mumolo have a bit too much affection for their characters, preventing them from bringing out any of the hidden, more uncomfortable vulnerabilities that might have resulted in richer comedy. Ryland Walker Knight, Brandon Cronenberg’s Possessor is obsessed with tensions between mind and body, and old and new technologies. Bowen, The Invitation filters each sinister development through Will’s (Logan Marshall-Green) unreliable perspective, to the point that one friend’s failure to turn up at a lavish dinner, or another’s precipitous departure, appear as if submerged, changing with each shift in the emotional current. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. It was a lot to digest back then. Click to get the latest Buzzing content. That’s a treacherous world to live in because you’re judged and sometimes condemned based on an opening weekend or a per-screen average. These distinct grammars are connected by a sustained detachment as we accompany a group of bareback-loving gay men accused of injecting HIV-infected blood into their chemsex partners without their consent. This new world with streaming platforms, you’re not as beholden to the risks of theatrical box office revenue. Once they return, however, the narrative, which had been building slowly into a haunted-house attraction, with menacing noises at the door and ominous stories about Siberia’s Tunguska Event of 1908, realigns and turns diabolically quizzical, reimagining Mike Cahill’s Another Earth as a taut parlor game of possible parallel lives. She shares StarBeam's powers of super strength and flight, but she uses more, Miserable Marla: A blue-skinned girl with freckles and generally drab clothing. Not in a stinking world like this! As viewers, we’re welcome to consider the persistent motif of walls collapsing, subterfuges dissolving, and rugs being pulled out from still more rugs. There’s an aesthetic, tone, rhythm, and style to Southland Tales that I would very much want to maintain. And I think even when we brought the film to Cannes, people were exhausted and angry. StarBeam is a Canadian superhero animated web television series created for Netflix by Loris Lunsford and Jason Netter. Keith Watson, Justin Benson and Aaron Moorhead’s The Endless first shows the appeal of commune living—everyone eats healthy, follows their blisses, and drinks copious craft beer—so that it’s all the more unnerving when the amiable façade falls away. Pop music and tech culture has caused invisible barriers to insulate people in Queena Li’s Bipolar. We’re spotlighting our favorite movies currently streaming on Hulu. The film begins as a fairly well-worn tale of millennial angst, with a pair of Sydney-sider acquaintances, Ray (Fergus Wilson) and Alice (Emma Diaz), agreeing to camp together on their way back from a trip to Brisbane. Ever since audiences ran screaming from the premiere of Auguste and Louis Lumière’s 1895 short black-and-white silent documentary Arrival of a Train at La Ciotat, the histories of filmgoing and horror have been inextricably intertwined. I think what Scott Frank just did with The Queen’s Gambit, a limited seven-chapter story that was very contained and had a singular vision, is an example. When the bonds between the Abbotts are tested by the external threat of the alien invaders, the viscerally physical ways in which they protect each other from harm are powerful, and it becomes clear that these characters have had to learn different and perhaps more subtle methods of communication due to the circumstances in which they’ve found themselves. And I’d like to think that I’ve grown a lot as an artist, that I’m a more organized person in terms of my skills as a screenwriter in planning and mapping things out. Moira wants to be on the boat, as does her adopted daughter (Yasamin Keshtkar). What would be the seismic events that transformed the world and made us who we are? My films have never really gone down easily in terms of their reception. Lawrence surreally finds a baby and brings it to Moira, at which point a family, slowly, strangely, starts to form. Ed Gonzalez, The masterful final panel in Roman Polanski’s remarkable “Apartment Trilogy,” The Tenant surpasses even Repulsion and Rosemary’s Baby in its portrayal of claustrophobia and dissipating sanity. The sequence quickly retreats into more figurative terrain, though, as the lab worker demonstrates a lab infection using petals, a virus-filled syringe, and a pestle and mortar. Are your films, or the ideas behind them, ever finished? Through the decades—and subsequent crazes for color and sound, stereoscopy and anamorphosis—since that train threatened to barrel into the front row, there’s never been a time when audiences didn’t clamor for the palpating fingers of fear. Perhaps best exemplified by its fixation on culottes, which a title card explains is a hugely popular garment for women of a certain age, their film never really feels like more than a half-formed in-joke between close friends. Walken’s playing a classic Cronenberg protagonist: a gifted, temporarily empowered man who’s altered in a fashion that allows him to wrestle, tragically, with the differences between his internal and external selves. Soon after, all that remains of humanity are the passengers of an ultra-equipped, self-sustaining train that suggests Noah’s Arc as a speeding elevated bullet.
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