Gillian Flynn and Hollywood are at it again. The film adaptation of his book Gone Girl, which featured the talent of Ben Affleck, Rosamund Pike, and Neil Patrick Harris, as directed by David Fincher, made an impression on audiences back in 2014. Now, his 2009 novel Dark Places has been turned into what’s guaranteed to be another blockbuster hit.
chloe grace moretz
While Denzel Washington shares the same name as Edward Woodward’s character from The Equalizer television show, that’s exactly where the similarities end. The word equalizer isn’t even mentioned except for the credits. Further establishing differences between the two McCalls are the digs they occupy. Rather than roll around in a flashy Jaguar, Washington’s McCall takes public transportation and spends his days in anonymity working for Home Depot. He comes home to a fairly bare apartment in a lower-class corner of Boston. Nights when Robert can’t sleep he reads Cervantes in diners. This life is simple and it’s what he promised someone he loved.
“Everything is hitting me at once,” announces Maria Enders (Juliette Binoche), just minutes into director Olivier Assayas’ English-language Clouds of Sils Maria. It’s a subtle line that quickly introduces us to the frazzled female headspace that Assayas and Binoche have jointly crafted in this Bergman-esque melodrama.
Olivier Assayas, especially with his previous Irma Vep, has had a keen awareness for this entity and how the actions on-set can serve as a sort of chamber drama in itself. With Clouds of Sils Maria, his vision behind this project becomes realized in the channel of Bergman by way of TMZ, a smartly composed dive into the role of celebrity culture and how it influences the films they inhabit.
Unquestionably one of the principle elements that put fear into studio at the thought of financing Kick-Ass was the level of unfiltered violence featured throughout. Witnessing bullets ripping through flesh is nothing knew for anyone who has paid attention to recent action films, and experiencing the slicing and dicing of body limbs with a shiny sword should sound familiar to those who have seen the Kill Bill films, but it is the way the violence is handled at times in Kick-Ass that differentiates it from many other movies of the same ilk.
Kick-Ass 2 is a rare film, one that is so messy and unpleasant that it makes one wonder if its predecessor was actually any good. The cast has, mostly, returned, but director Matthew Vaughn has stepped back into the producer’s chair. Maybe that’s the issue, or maybe the graphic novel series on which this sequel is based is just too mean-spirited and nasty to make a satisfying transition to the big screen. Whatever the case, Kick-Ass 2 is a misguided, uncomfortable, cartoonish, and gratuitously violent affair that’s best ignored.
A reimagining of the classic horror tale about Carrie White (Chloe Grace Moretz), a shy girl outcast by her peers and sheltered by her deeply religious mother (Julianne Moore), who unleashes telekinetic terror on her small town after being pushed too far at her senior prom. Based on the best-selling novel by Stephen King, Carrie is directed by Kimberly Peirce with a screenplay by Roberto Aguirre-Sacasa.