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Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Reviews Gone Girl As directed by David Fincher (“Se7en,” “Zodiac”)

Why Gone Girl's Amy Dunne is the Most Disturbing Female Villain of All Time | Psych of a Psycho - YouTube

“Gone Girl” is art and entertainment, a thriller and an issue, and an eerily assured audience picture.
It is also a film that shifts emphasis and perspective so many times that you may feel as though you’re watching five short movies strung together,
each morphing into the next.
At first, “Gone Girl” seems to tell the story of a man who might or might not have killed somebody,
and is so closed off and alienating (like Bruno Richard Hauptmann, perhaps) that even people
who believe in his innocence can’t help wondering. His name is Nick Dunne (Ben Affleck). He’s a college professor and a blocked writer.
His dissatisfied wife Amy (Rosamund Pike) disappears one day,
prompting local cops to open a missing persons case that becomes a murder investigation
after three days pass without word from her. Amy and Nick seemed like a happy couple. The snippets from Amy’s diary,
read in voice-over by Amy and accompanied by flashbacks,
hint at differences between them, but not the sort that seem irreconcilable (not at first, anyway).
Were things ever really all that sunny, though? If they weren’t,

which spouse was the main source of rancor? Can we trust what Nick tells the homicide detectives

(Kim Dickens and Patrick Fugit, both outstanding) who investigate Amy’s case?

Can we trust what Amy tells us, via her diary? Is one of the spouses lying?

Are they both lying? If so, to what end?

The film raises these questions and others, and it answers nearly all of them,

often in boldface, all-caps sentences that end with exclamation points. It is not a subtle film, nor is it trying to be.

As directed by David Fincher (“Se7en,” “Zodiac”) and as adapted by Gillian Flynn from her bestselling potboiler,

“Gone Girl” suggests one of those overheated,

fairly comic-bookish “R”-rated thrillers that were everywhere in the late ’80s and early ’90s.

Like those sorts of pictures, “Gone Girl” is dependent upon reversals of expectation and point-of-view.

As soon as you get a handle on what it is, it becomes something else, then something else again.

Describing its storyline in detail would ruin aspects that would be counted as selling points for anyone who hasn’t read Flynn’s book.

That’s why I’m being so vague.

Suffice to say that its explicit sex and violence and one-damn-thing-after-another,

to-hell-with-realism plotting put it in the “Basic Instinct”/”Fatal Attraction”/”Presumed Innocent” wheelhouse.

It is a metafictionally-minded version of a bloody domestic melodrama that actually uses อ่านต่อ

 

 

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The first time we see Michael Keaton in his tighty-whities in “Birdman”

BIRDMAN (or, THE UNEXPECTED VIRTUE OF IGNORANCE) | Wordless Music

The first time we see Michael Keaton in his tighty-whities in “Birdman”
it’s from behind. His character, a formerly high-flying movie star, is sitting in the lotus position in his dressing room of a historic Broadway theatre, only he’s levitating above the ground.
Bathed in sunlight streaming in from an open window, he looks peaceful.
But a voice inside his head is growling, grumbling,
gnawing at him grotesquely about matters both large and small.
The next time we see Keaton in his tighty-whities in “Birdman,”

he’s dashing frantically through Times Square at night, having accidentally locked himself out of that same theatre in the middle of a performance of a Raymond Carver production that he stars in, wrote and directed.

He’s swimming upstream through a river of gawking tourists, autograph seekers, food carts and street performers.

But despite the chaos that surrounds him, he seems purposeful, driven and–for the first time–oddly content.

These are the extremes that director Alejandro G. Inarritu navigates with audacious ambition and spectacular skill

in “Birdman”–the full title of which is “Birdman or (The Unexpected Virtue of Ignorance).”

He’s made a film that’s both technically astounding yet emotionally rich, intimate yet enormous, biting yet warm, satirical yet sweet. It’s also the first time that Inarritu, the director of ponderous downers like

“Babel” and “Biutiful,” actually seems to be having some fun.

Make that a ton of fun. อ่านต่อ

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Reviews Arrival about the recent surge of personal stories

Reviews Arrival about the recent surge of personal stories

Arrival -

Much has been written about the recent surge of personal stories being told through the horror genre in films like “It Follows,”
“The Witch” and “The Babadook,” but there’s an equally interesting trend in the science fiction genre as well.
Over the last few years, we’ve seen the genre used not only to examine the power of space travel or a post-apocalyptic future
but as a way to address common humanity more than futuristic adventure stories. Joining films like “Gravity,”
“Interstellar” and “The Martian” is Denis Villeneuve’s ambitious and moving “ Arrival ,”
a movie that’s about the day the universe changed forever but becomes more focused on a single story even as it’s expanding its worldwide narrative.

It is more about grief, time, communication and compassion than it is warp speed, and it’s a film that asks questions.

How do we approach that which terrifies us? Why is it important to communicate through language and not action?

The final act of “ Arrival ” gets to the big ideas of life that I won’t spoil here, but viewers should know that Villeneuve’s film is not the crowdpleaser of “The Martian,” Ridley Scott’s big TIFF premiere last year.

It’s a movie designed to simultaneously challenge viewers,

move them and get them talking. For the most part, it succeeds.

Amy Adams gives a confident, affecting performance as Louise, อ่านต่อ

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Frozen Review Princess Elsa (Menzel) can create snow

Frozen Review Princess Elsa (Menzel) can create snow

Frozen 2 | Disney Movies | Thailand

Princess Elsa (Menzel) can create snow, and as a child she accidentally injures her sister Anna (Bell). She tries to control her gift, but when her power is revealed at her coronation, she flees in panic — plunging the kingdom into eternal winter. Anna must go after her and find a way to undo the spell.
Disney has always taken a fast and loose approach to adapting classic fairy tales, adding dragons to Sleeping Beauty, talking crabs to The Little Mermaid and dancing teapots to Beauty And The Beast. But their adaptations also have distinct phases: there were the early,
faintly Germanic fantasies; the lacklustre ’80s and the feisty ’90s princesses. Now we’re in the Tangled era, notable for big Broadway numbers,
large quadrupeds that act like canines and adjectival titles that don’t mention the heroine.
The result here is that a story about two sisters — powerful, scared Elsa (Idina Menzel) and good-hearted Anna (Kristen Bell) — is planted in,
and occasionally obscured by, an almost entirely male supporting cast.
The emotional moments are powered by the bond between the manga-looking, wasp-waisted sisters — their eyes literally bigger than their stomachs —
but the comedy comes largely from the buddy relationships between the guys, heroic ice-harvester Kristoff (Jonathan Groff),
dog-like reindeer Sven and sentient snowman Olaf (Josh Gad).
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Review “Coco” is the sprightly story of a young boy

Image result for coco

“Coco” is the sprightly story of a young boy who wants to be a musician and somehow finds himself communing with talking skeletons in the land of the dead. Directed by Lee Unkrich (“Toy Story 3”) and veteran Pixar animator Adrian Molina, \

and drawing heavily on Mexican folklore and traditional designs, it has catchy music, a complex but comprehensible plot, and bits of domestic comedy and media satire.

Most of the time the movie is a knockabout slapstick comedy with a “Back to the Future”

feeling, staging grand action sequences and feeding audiences new plot information every few minutes, but of course, being a Pixar film,

“Coco” is also building toward emotionally overwhelming moments, so stealthily that you may be surprised to find yourself wiping away a tear even though the studio has been using the sneak-attack playbook for decades.

Image result for coco

The film’s hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez), lives in the small town of Santa Cecilia.
He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and ’30s,
Ernesto de la Cruz (Benjamin Bratt),
who was killed when a huge church bell fell on his head.
But Miguel has to busk in secret because his family has banned its members from performing
music ever since Miguel’s great-great-grandfather left, abandoning his loved
ones to selfishly pursue his dreams of stardom.
Family and legacy as expressed through storytelling and song: this is the deeper preoccupation of “Coco.”
One of the most fascinating things about the movie is the way it builds its plot around members of Miguel’s family, living and dead,
as they battle to determine the official narrative of
Miguel’s great-great grandfather and what his disappearance from the narrative
meant for the extended clan.

I’m reluctant to describe the film’s plot in too much detail because,

even though every twist seems obvious in retrospect, Molina and Matthew Aldrich’s script frames each one so that seems delightful and inevitable.

Many of them are conveyed through a stolen family photograph that Miguel brings with him to the Land of the Dead.

The deployment of the photo is a great example of how to tell a story through pictures,

or more accurately, with a picture. Somebody’s face has been torn

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