borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.
23.01.2022 - 09:01 / thewrap.com
th century Macedonia, writer-director Goran Stolevski’s debut feature presents a disorienting narrative about Nevena (mostly played by Noomi Rapace), a shape-shifting teenage witch who’s kidnapped and then haunted by the malicious “wolf-eateress” conjurer Maria (Anamaria Marinca, “4 Months, 3 Weeks and 2 Days”).The movie’s heavy-handed and often distracting impressionistic style — lots of too-tight extreme close-ups, wobbly hand-held camerawork, whispery stream-of-conscious voiceover narration, and over-edited montages — will understandably frustrate some viewers and draw comparisons to recent dramas directed by Terrence Malick (“Knight of Cups,” “The Tree of Life”) as well as Robert Eggers’ “elevated horror” movies “The Witch” and “The Lighthouse.” Stolevski’s pretentious and mindlessly alienating style also smothers his ensemble cast’s performances and his crew’s diligent contributions, especially work by production designer Bethany Ryan, costume designer Sladjana Perić-Santrač, sound designer Emma Bortignon, and their respective teams.Most of “You Won’t Be Alone” concerns Nevena (first played by Petra Ćirić, then Sara Klimoska) and her vain attempts at understanding basic human experiences after Yelena’s biological mother Yoana (Kamka Tocinovski) forces her to spend her childhood hiding from the predatory Maria. Yelena and the others usually explain their motives through elliptical, fragmented dialogue and voiceover narration, so it’s often hard to tell why they do what they do unless it’s heavily implied through distracting close-ups and babbling commentary.Basically, Nevena’s story begins after Maria abducts and adopts her.
borks. And if that sounds like a really terrible idea, if only because it’s more of an invasion of privacy than usual (which is already a lot), “KIMI” agrees with you.
Tomoko (Muneaki Kitsukawa) — the young daughter of his host family — the real song drops on the soundtrack, a moment of excessive underlining. Another moment, where Smith reflects on rejecting a bribe from a Chisso executive, is complicated by unnecessarily non-linear storytelling and some aggressive scoring from composer Ryuichi Sakamoto.Cinematographer Benoît Delhomme (“At Eternity’s Gate) crafts a naturalistic look with practical lighting and a fluid camera, rendering the film with a dark beauty, but Levitas also incorporates archival and recreated footage of the protests at Chisso, as well as capturing the photographic process with slow, almost completely still black-and-white sequences.
a robot could write them. Some unlucky-in-love woman cannot find a husband (despite looking like a supermodel and having a glamorous job), so a condescending guy helps her become more appealing in order to attract Mr.
accused of sexual assault and rape.) There are plenty of other reasons to wish the perfectly watchable “Death” had been better, if only because it’s already an upgrade from the flat, purposeless “Express.” This one’s trappings are plusher, its puzzle and solution niftier, yet still not totally there as a smoothly glamorous, engrossing piece of escapism.Christie aficionados may wonder what a grey WWI prologue in Belgium’s blood-soaked trenches has to do with Mediterranean misadventure. But Branagh and Green believe, a tad obnoxiously, that Poirot is more interesting if he’s less comical oddball and more heavy-headed hero with a lost love.
Flag Day, in which he also stars, he has clearly “still got it”, said Peter Bradshaw in The Guardian. In this “very watchable and well-made family drama”, he plays the real-life swindler John Vogel, who was pursued by the FBI in the 1990s for forging $100 bills on an industrial scale. Penn exudes a “buzzard-like watchfulness” as the sociopathic Vogel; his “seductive address to the camera is almost unrivalled”.
this — this insipid, hackneyed, laughable joke of a motion picture — is actually really cool. And the weirdest part of all is, they’re kind of right.
they all find it to reduce each other to writhing heaps. Though you will surely wonder why Jason Acuña (“Wee Man”) would allow himself to be tied down and covered with raw meat as an offering to a hungry vulture, “Jackass Forever” is not for questioning.
th feature film, Allen returns to a well that is not so much dry as desiccated. The movie opens with Wallace Shawn as our Allen doppelgänger, Mort Rifkin. Mort, an anxious former professor, is also a dedicated cinephile and self-defined intellectual who spends the next hour and a half complaining vociferously to his analyst.He’s reminiscing about a troubled trip to Spain’s San Sebastián Film Festival, which he recently took with his publicist wife, Sue (Gina Gershon).
is a Disney.It’s a self-conscious film, to be sure, driven by a combination of passion and guilt. It’s also a scattershot one that could have viewers wondering if it’s a film about the Walt Disney Company or a film about American capitalism.
thought it was over.” The knowledge that it wasn’t, and still isn’t, is a charge that runs through the entire film.It’s a shame that Lessin and Pildes don’t tell us what these amazing women went on to do after the Collective ended.
awesome,” she says, in a doomed attempt to sublimate her own fear while sharing her bestie’s excitement. And when Jane is hurt by Lucy’s withdrawal, her boyfriend (Jermaine Fowler, “Coming 2 America”) offers the kind of thoughtful advice we’d all want from our significant others.So it does feel a bit jarring when characters around them are sketched more as a symbols or even caricatures.
almost – to make up for the fact that the story itself is something of a letdown.A classic unreliable-narrator doc, the film is always fun to watch. But unlike, say, Ramin Bahrani’s “2nd Chance” — a 2022 Sundance doc that is intricately constructed to take the viewer through the twists and evasions doled out by its own unreliable narrator — “My Old School” works hard to put a stylish spin on a story whose surprises are telegraphed from the beginning.It gets off to a promising start, as we see actor Alan Cumming sitting down at a desk in a Scottish classroom, with titles letting us in on the film’s central conceit: “The man at the heart of this story does not want to show his face, but you will hear his voice.