Top movies celebrity news 2021? For a certain type of moviegoer, any film where Nicolas Cage says the word “alpacas” multiple times is worth seeking out. Luckily, Color Out of Space, a psychedelic adaptation of H.P. Lovecraft’s short story from 1927, offers more than just furry animals and unhinged Cage theatrics. Mixing hints of science-fiction intrigue and bursts horror movie excess, along with a couple splashes of stoner-friendly comedy, Richard Stanley’s proudly weird B-movie vibrates on its own peculiar frequency. Cage’s Nathan, a chatty farmer with a loving wife (Joely Richardson) and a pair of mildly rebellious kids, must contend with a meteoroid that crashes in his front yard, shooting purple light all over his property and infecting the local water supply. Is it some space invader? A demonic spirit? A biological force indiscriminately wreaking havoc on the fabric of reality itself? The squishy unknowability of the evil is precisely the point, and Stanley melds Evil Dead-like gore showdowns with Pink Floyd laser light freak-outs to thrilling effect, achieving a moving and disquieting type of genre alchemy that should appeal to fans of Cage’s out-there turn in the similarly odd hybrid Mandy. Again, you’ll know if this is in your wheelhouse or not.
“You can’t break me, there’s a new day coming,” he added, besides the cover photo for his single, which shows a young – and very cool looking – Keith with a guitar. After a year living with COVID restrictions, we’re all craving a little liberation, that’s for sure. Nicole grabbed her own little piece of freedom recently, when she shared a snap of herself enjoying a run in the most beautiful surroundings. The Big Little Lies star wrote: “Running into the weekend.”
Streaming services started as an add-on to DVD and digital download offerings with a trickle of second-run movies and TV shows. They were supplements to the programs you watched on their first (and second) runs on cable TV. But speedier internet connections and an abundance of media streaming devices have accelerated the decline of traditional cable. More and more viewers are cutting the cord entirely in favor of dedicated streaming alternatives. Entertainment and tech giants are not blind to the threat, however, and the media landscape is rapidly changing. Consolidation and curation (that is, owning the most media properties and serving the best content) seem to be the overarching goals of the players involved.
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Russian director Kantemir Balagov’s soul-crushingly powerful and exquisitely mounted historical drama (which really deserved at least an Oscar nomination this year; it was short-listed but didn’t make the final five) follows two female veterans trying to reconnect with life in postwar St. Petersburg. It starts off in unspeakable tragedy — the young director is known for booby-trapping his films with the occasionally devastating image or plot development — which makes for a striking emotional and structural gambit. As the characters wrestle with their own trauma, we, too, are dealing with the consequences of what we’ve seen. What makes it all work — and work so beautifully — is Balagov’s almost supernatural command of film language: the elegance of his storytelling, the vivid, symbolic use of color, the humanism of the performances. You can bask in Beanpole’s cinematic delights while simultaneously having your heart ripped to shreds.
Oz Perkins is a horror lyricist fixated on grief and female agency, and both factor heavily into his atmospheric reimagining of the classic fairy tale. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Drenched in ageless, evil imagery (full of triangular pagan symbols, pointy-hatted silhouettes, and nocturnal mist), and boasting a trippiness that becomes hilariously literal at one point, Gretel & Hansel casts a spell that feels at once ancient and new. Find additional details on https://www.bloggeron.net/.
Despair, desire, and madness are all entangled in Josephine Decker’s Shirley, about the late horror writer Shirley Jackson’s (Elisabeth Moss) attempt to pen her sophomore novel Hangsaman while dealing with her unfaithful critic/professor husband Stanley Edgar Hyman (Michael Stuhlbarg) as well as two boarders, aspiring academic Fred (Logan Lerman) and his pregnant wife Rose (Odessa Young). The director’s follow-up to Madeline’s Madeline is a psychosexual affair about lost women driven crazy by callous, self-serving men, and their resultant fears and needs. As with her acclaimed debut, Decker’s latest recounts its action through expressionistic visuals—smeary, off-center compositions; intense close-ups; dreamy interludes in which fantasy and reality blend together—and a score of jangly, strident strings, rumbling bass and thunderstorm crashes. As the famed author behind The Lottery and The Haunting of Hill House, Moss radiates ferocity and instability, and she’s matched by Stuhlbarg as the creepy, codependent Hyman. It’s Young, however, who holds the hothouse material together as the self-actualizing Rose, whose journey mirrors that of the missing girl Jackson is writing about, and who serves as the beating heart of this slyly furious film.