Now infamous for its over-the-top gore and cheesy effects sequences, The Evil Dead is most impressive for Raimi’s unnerving wide angle work and his uncanny, almost unreal ability to suggest the presence of intangible evil via distant headlights, bleeding light sockets, and, in the film’s most awesome set piece, a simple game of cards.

The first follows a group of meth addicts, including a grunged-up Paul Walker, attempting to rip each other off in counterproductive ways that at times recall a grimy, amphetamine-addled variation on O. Henry’s “The Gift Of The Magi.” Not content to steal just from the best, Kramer also blatantly rips off Jonas Akerlund’s Spun, an instant cult oddity similarly invested in the Goodfellas-derived cliché that the best way to chronicle late-period drug delirium is to mirror its effects stylistically. Next comes “The Ring,” in which a newlywed (Matt Dillon) ditches his bride (Rachelle Lefevre) in the pawn shop parking lot after stumbling on a clue to the whereabouts of his first wife, who mysteriously disappeared six years earlier. Plainly, that kind of studied discordance is meant to embellish the tension as Charlotte tries to maintain her sanity in the distorted reality of Margaret and Thomas’s home. Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors and incarnate our sickest, most socially unpalatable fantasies.

His search leads to a farm whose pornography-addicted owner, Johnny (Elijah Wood), maintains a menagerie of naked, kidnapped women shackled like wild animals in cages and writhing in their own filth. “Pawn Shop Chronicles” is rated R (Under 17 requires accompanying parent or adult guardian). These moments cut to the heart of the terror of loss driving Koko-di Koko-da, which is named after a nursery rhyme played by a music box that Maja receives for her birthday, and Nyholm springs another potentially devastating concept that soon locks the film in a holding pattern. That he’s talking through and to another can’t reduce the depth of feeling in the sentiments. Cast: Paul Walker, Norman Reedus, Elijah Wood, Brendan Fraser, Vincent D'Onofrio, Thomas Jane, Matt Dillon, Lukas Haas, DJ Qualls, Chi McBride, Ashlee Simpson Director: Wayne Kramer Screenwriter: Adam Minarovich Distributor: Anchor Bay Films Running Time: 112 min Rating: R Year: 2013 Buy: Video, Review: Capone Superficially Keys Itself to a Gangster’s Rattled Mind, Review: Lars von Trier’s The House That Jack Built on Shout! It’s a billet-doux by proxy, ghost-authored, dictated to a machine. But while each twist of Jordan Peele’s film delves deeper into the visceral surreality of racism, Kindred doesn’t twist so much as it loops, taking us repeatedly through the same trauma of escape and recapture.

Ballard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness.

The couple had been living in a crumbling estate owned by Ben’s family, and Charlotte hadn’t wanted to keep the pregnancy, but both situations come to change after Ben’s death. Some of these depictions are humorous, others haunting. As he illustrated in The Strangers, Bertino has a very capable, Carpenter-esque way of establishing and exploiting spatial dynamics, which he utilizes here less for set pieces than for impressively sustaining an inchoate sense of dread.

We open on the wide-eyed mug of Theodore Twombly (Joaquin Phoenix), seeming to speak from the heart, recalling fondly a first love that proves, with the reveal of an incongruous anniversary, to belong to somebody else. The film’s soundtrack also undermines the unsettling mood of the visuals by attempting to make both Debussy’s “Clair de Lune” and Bach’s “Cello Suite No. Cast: Leif Edlund, Ylva Gallon, Peter Belli, Katarina Jakobson, Morad Baloo Khatchadorian, Brandy Litmanen Director: Johannes Nyholm Screenwriter: Johannes Nyholm Distributor: Dark Star Pictures Running Time: 89 min Rating: NR Year: 2019. Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics. Kramer is clearly a gifted filmmaker but based on his work here, he seems to be doing a very good job of hiding those gifts. Even in Smooth Talk’s more escapist moments, however, Chopra calls attention to the pitfalls of such an approach to life. It doesn’t hurt that Bertino, who grew up in Texas, appears to have some actual understanding of how farms work, milking low-thrumming suspense out of, say, the rattling of the fence used to keep in livestock, which the filmmakers also shoot with a keen and empathetic eye.

Clayton Dillard, In The Strangers, Bryan Bertino exhibited a masterfully lush style that owed quite a bit to the elegant camera pirouettes of John Carpenter. Its finale is the most fully annihilative visualization of the Rapture ever put to screen, a mass death rendered as cathartic release from the hell of existence that, in a parting act of cruelty, leaves the broken, suicidal protagonist alive to bear witness to oblivion. The monster, unassumingly named Larry, makes contact with Oliver through his phone, interrupting episodes of the boy’s beloved SpongeBob SquarePants.

But after Jimmy and his mother, Lorna (Kayli Carter), are spirited away from their Montana town by her abusive new husband, Donnie (Will Brittain), the Blackledges bake a cake for the road, load a pistol just in case, and take off to track them down. The film suggests a gene splice of Jennifer Kent’s The Babadook and Mike Flanagan’s Before I Wake.

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Even their body language changes depending on the setting: At home, Connie is awkward, as if unsure how to handle her gangly frame, but as she walks around casting flirtatious glances at boys and teasing retail workers, she exudes a veneer of confidence inspired by magazines and TV. Reportedly an animated project based on the long-running Pawn Shop Chronicles video game franchise. A sub-Tarantino triptych of comic-violent tall tales consisting mostly of bad things happening to dumb people. Anderson uses to brilliant effect a series of archived audio recordings—leading up to the titular “breakthrough” session—that document a disturbing case of split personality. These images are so loaded you can probably locate whatever subtext corresponds to your ideology, but Pawn Shop Chronicles is probably best understood as a self-dare on the part of the filmmakers, who revel in the freedom that a limited theatrical release presumably allows. Matt Brennan, As in real estate, the three most important factors in Brad Anderson’s brooding Session 9 are: location, location, location. Ash (Bruce Campbell), horrordom’s most memorable wuss, and his girlfriend, Linda (Betsy Baker), share an intimate, peek-a-boo moment in which he gives her a necklace, and when he’s later forced to kill her, Raimi takes great joy in referencing this coquettish exchange of affection. The film now exists in a twilight of an era in which factory-produced entertainment could still serve as a keyhole into a dimension of weird, through which we might glimpse the otherworldly, and contemplate fondling the third breast. As flighty and self-absorbed as the average teenager, Connie whiles away her summer days thinking about boys and quarrelling with her conservative mother, Katherine (Mary Kay Place), who openly favors her older daughter, June (Elizabeth Berridge), and belittles Connie as lazy and a good-for-nothing.

Chopra homes in on how vast an age difference of even a year or two can seem when, for example, Connie’s friends want to go to a movie, only for the youngest among them to become exasperated when the others are willing to bail on the movie that she now wants to see due to their learning that a group of cute guys are seeing something else. https://hiddenchronicles.fandom.com/wiki/Pawn_Shop?oldid=24405. Chopra’s direction, comparatively matter-of-fact and tranquil up to this point, suddenly embraces the visual language of horror during this stretch of the film, employing angled shots and alternately placid and arrhythmic editing to emphasize the distance between the teenage Connie and the thirtysomething Arnold and how quickly it can be closed. It’s a salient enough contradiction that, in its latter half, the film has characters hurriedly sum up the rules of the mythology based on some quite impressive logical leaps—lest we start thinking that the scares were conceived apart from internal narrative consistency.

And by then, it’s hard to find horror or pleasure in its repetition. Wayne Kramer’s grubby, obnoxious comic thriller Pawn Shop Chronicles registers as an unfortunate throwback to the plague of dodgy Quentin Tarantino knockoffs that afflicted video-store shelves in the mid-to-late 1990s. Laid up in bed connected to tubes with healthcare workers circling him, he resembles someone who’s suffering from cancer or succumbing to dementia—a suggestion that connects The Dark and the Wicked to other recent horror movies that have utilized supernatural flourishes to examine familial death and diminishment, including Ari Aster’s Hereditary and Natalie Erika James’s Relic. The mother and daughter of The Monster were piercingly alive in their disillusionment and yearning, while the Texan family of The Dark and the Wicked is composed of barely audible zombies who’re calcified by despair even before a shadowy, metaphoric thing begins skulking around their farm. The pawn shop of the title sits tucked under a highway somewhere in the Deep South (filming was done in Louisiana), watched over by laconic … Bertino certainly doubles down on familial decay in The Dark and the Wicked, a supernatural fable that elevates the subtext of the director’s earlier work to the level of text, in the process nearly dispensing with a monster altogether. Ever since his son died years ago at one of the group’s high school parties, Mr. Peterson has held each one of them personally responsible. And the carnage, when it arrives, is staged with an aura of guttural bitterness that refuses to give gore-hounds their jollies, elaborating, instead, on the desolation of the characters committing the acts. Horror films remain perennially popular, despite periodic (and always exaggerated) rumors of their demise, even in the face of steadily declining ticket sales and desperately shifting models of distribution.

Live Updates: Who Will Win Control of the Senate? It has violence, torture, graphic nudity, sexual material, offensive language and drug use.

While there, Dillon finds a ring that belonged to his first wife who mysteriously vanished six years earlier and leaves his new bride behind so that he can pursue her, a journey that eventually leads to a local weirdo (Elijah Wood), an extended torture session involving fishhooks and a chisel, and a final revelation straight out of Alan Rudolph's little-seen directorial debut "Barn of the Naked Dead" (a.k.a. Bowen, Tobe Hooper is officially credited for having directed Poltergeist, but it’s co-scripter Steven Spielberg’s fingerprints that are all over this dark-mirror image of E.T. More than once, Connie’s bravado falters when she catches wind of just how intently some teenage boys and even men are gawking at her, and at times it feels as if Smooth Talk is a slasher movie waiting to erupt. In the final story, 'The Medallion,' Brendan Fraser plays a down-on-his-luck Elvis impersonator who hocks a medallion for enough money to get cleaned up before a county fair performance that night.

Now infamous for its over-the-top gore and cheesy effects sequences, The Evil Dead is most impressive for Raimi’s unnerving wide angle work and his uncanny, almost unreal ability to suggest the presence of intangible evil via distant headlights, bleeding light sockets, and, in the film’s most awesome set piece, a simple game of cards.

The first follows a group of meth addicts, including a grunged-up Paul Walker, attempting to rip each other off in counterproductive ways that at times recall a grimy, amphetamine-addled variation on O. Henry’s “The Gift Of The Magi.” Not content to steal just from the best, Kramer also blatantly rips off Jonas Akerlund’s Spun, an instant cult oddity similarly invested in the Goodfellas-derived cliché that the best way to chronicle late-period drug delirium is to mirror its effects stylistically. Next comes “The Ring,” in which a newlywed (Matt Dillon) ditches his bride (Rachelle Lefevre) in the pawn shop parking lot after stumbling on a clue to the whereabouts of his first wife, who mysteriously disappeared six years earlier. Plainly, that kind of studied discordance is meant to embellish the tension as Charlotte tries to maintain her sanity in the distorted reality of Margaret and Thomas’s home. Into the new millennium, horror films have retained their power to shock and outrage by continuing to plumb our deepest primordial terrors and incarnate our sickest, most socially unpalatable fantasies.

His search leads to a farm whose pornography-addicted owner, Johnny (Elijah Wood), maintains a menagerie of naked, kidnapped women shackled like wild animals in cages and writhing in their own filth. “Pawn Shop Chronicles” is rated R (Under 17 requires accompanying parent or adult guardian). These moments cut to the heart of the terror of loss driving Koko-di Koko-da, which is named after a nursery rhyme played by a music box that Maja receives for her birthday, and Nyholm springs another potentially devastating concept that soon locks the film in a holding pattern. That he’s talking through and to another can’t reduce the depth of feeling in the sentiments. Cast: Paul Walker, Norman Reedus, Elijah Wood, Brendan Fraser, Vincent D'Onofrio, Thomas Jane, Matt Dillon, Lukas Haas, DJ Qualls, Chi McBride, Ashlee Simpson Director: Wayne Kramer Screenwriter: Adam Minarovich Distributor: Anchor Bay Films Running Time: 112 min Rating: R Year: 2013 Buy: Video, Review: Capone Superficially Keys Itself to a Gangster’s Rattled Mind, Review: Lars von Trier’s The House That Jack Built on Shout! It’s a billet-doux by proxy, ghost-authored, dictated to a machine. But while each twist of Jordan Peele’s film delves deeper into the visceral surreality of racism, Kindred doesn’t twist so much as it loops, taking us repeatedly through the same trauma of escape and recapture.

Ballard may have been right that literary sci-fi has provided all the interesting themes and ideas for which sci-fi in general has become known, but he failed to grasp how cinema has expanded our understanding of sci-fi by pricking at our collective visual consciousness.

The couple had been living in a crumbling estate owned by Ben’s family, and Charlotte hadn’t wanted to keep the pregnancy, but both situations come to change after Ben’s death. Some of these depictions are humorous, others haunting. As he illustrated in The Strangers, Bertino has a very capable, Carpenter-esque way of establishing and exploiting spatial dynamics, which he utilizes here less for set pieces than for impressively sustaining an inchoate sense of dread.

We open on the wide-eyed mug of Theodore Twombly (Joaquin Phoenix), seeming to speak from the heart, recalling fondly a first love that proves, with the reveal of an incongruous anniversary, to belong to somebody else. The film’s soundtrack also undermines the unsettling mood of the visuals by attempting to make both Debussy’s “Clair de Lune” and Bach’s “Cello Suite No. Cast: Leif Edlund, Ylva Gallon, Peter Belli, Katarina Jakobson, Morad Baloo Khatchadorian, Brandy Litmanen Director: Johannes Nyholm Screenwriter: Johannes Nyholm Distributor: Dark Star Pictures Running Time: 89 min Rating: NR Year: 2019. Our aesthetic perception is linked to our perception of Henry himself, so that the film becomes a study of empathy through aesthetics. Kramer is clearly a gifted filmmaker but based on his work here, he seems to be doing a very good job of hiding those gifts. Even in Smooth Talk’s more escapist moments, however, Chopra calls attention to the pitfalls of such an approach to life. It doesn’t hurt that Bertino, who grew up in Texas, appears to have some actual understanding of how farms work, milking low-thrumming suspense out of, say, the rattling of the fence used to keep in livestock, which the filmmakers also shoot with a keen and empathetic eye.

Clayton Dillard, In The Strangers, Bryan Bertino exhibited a masterfully lush style that owed quite a bit to the elegant camera pirouettes of John Carpenter. Its finale is the most fully annihilative visualization of the Rapture ever put to screen, a mass death rendered as cathartic release from the hell of existence that, in a parting act of cruelty, leaves the broken, suicidal protagonist alive to bear witness to oblivion. The monster, unassumingly named Larry, makes contact with Oliver through his phone, interrupting episodes of the boy’s beloved SpongeBob SquarePants.

But after Jimmy and his mother, Lorna (Kayli Carter), are spirited away from their Montana town by her abusive new husband, Donnie (Will Brittain), the Blackledges bake a cake for the road, load a pistol just in case, and take off to track them down. The film suggests a gene splice of Jennifer Kent’s The Babadook and Mike Flanagan’s Before I Wake.

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