‘Mona Lisa and the Blood Moon’ Film Review: Ana Lily Amirpour Whips Up a Heady Bourbon Street Cocktail

Carl Dreyer film (Coen’s clearest stylistic influence for the severity of this adaptation).

riot tonight,” says the girlfriend of numbers runner Harold (Leslie Odom Jr.), right before the Newark riots of 1967 start. Worse than this is the scene where baby Christopher cries whenever he sees his uncle Tony and an older female family member says the infant might know something they don’t.The new characters are all one-dimensional, and we learn nothing new about the old characters from the series.

Carly Rae Jepsen has celebrated the tenth anniversary of her hit track ‘Call Me Maybe’, sharing an anecdote from her life as a burgeoning pop singer.Released on September 20, 2011, ‘Call Me Maybe’ was recorded for Jepsen’s EP ‘Curiosity’ and also included on her album ‘Kiss’ a year later.

Back in April, New Jersey rapper Topaz Jones shared his album Don't Go Tellin' Your Mama, an LP that came with a very well-received short film of the same name. The film, co-directed Jones and rubberband, went on to win a Jury Award at this year's Sundance Film Festival.

does for “The Eyes of Tammy Faye.” But Ben Foster’s transformation in Barry Levinson’s “The Survivor,” which had its world premiere at TIFF on Monday, is something different — because he morphs into Holocaust survivor Harry Haft from two different directions in the same film.In scenes set in the latter stages of Haft’s life, Foster is doughy and sluggish, only slightly recognizable as the actor we know from films like “The Messenger” and “Leave No Trace.” In scenes set during World War II, when

Luigi’s Mansion have been assisted by the discovery of beta assets in the new WarioWare game.WarioWare: Get It Together is a compilation of microgames that riff on classic Nintendo games and levels from the Super Mario series.

th Century Women” to Lee Isaac Chung’s “Minari,” from John Boorman’s “Hope and Glory” to Alfonso Cuaron’s “Roma.” Writer-director-actor Kenneth Branagh has now tried his hand at the genre, and to say that “Belfast” brings out the best in him would be an understatement.Visually stunning, emotionally wrenching and gloriously human, “Belfast” takes one short period from Branagh’s life and finds in it a coming-of-age story, a portrait of a city fracturing in an instant and a profoundly moving lament

Back in 2019, when it was announced that filmmaker Ana Lily Amirpour was set to helm a new remake of “Cliffhanger,” the classic action film starring Sylvester Stallone, it was described as “female-focused.” When I reported about it, I even used that term in the headline. Let’s hope Amirpour didn’t notice that because she’s not a big fan of labeling a film with such gendered terms.

Manori Ravindran International EditorAna Lily Amirpour doesn’t want you to call her movies “female-led.” It’s true that all of them to date have been centered around strong female protagonists, including her Venice competition title “Mona Lisa and the Blood Moon,” but they’re much more than that, she says.The Iranian-American director recalls early reports describing her next project, “Cliffhanger,” a reboot of the 1993 Sylvester Stallone action thriller, as merely a “female-fronted” project

Real psychiatric hospitals haven’t used straitjackets for decades, but no self-respecting genre filmmaker is going to let that get in her way. From the moment Mona Lisa And The Blood Moon provides a ceiling’s-eye view of Jeon Jong-seo writhing on the white floor of her white hospital room, buckled up inside a canvas wrap, we know exactly where we are. Man, that chick is crazy, blip city! That’s what that straitjacket is telling you.

Kate Hudson crouches down on the red carpet to play with director Ana Lily Amirpour‘s dog at the premiere of Mona Lisa And The Blood Moon during the 2021 Venice International Film Festival on Sunday (September 5) in Venice, Italy.

Like finding a grubby, balled-up bill in your spangly g-string and uncrumpling it to discover doughy old Ben Franklin staring benignly back at you, Ana Lily Amirpour‘s third feature is a sweet, scuzzy surprise made all the sweeter/scuzzier because you don’t know quite what you did to deserve it.

Owen Gleiberman Chief Film Critic“Mona Lisa and the Blood Moon” opens where any good stylishly ironic demon-out-of-water fairy-tale thriller should: in an insane asylum. That’s where Mona Lisa (Jeon Jong-seo), a catatonic waif, is seated on her knees in a straitjacket.