NOVEL THINKING

Myself and Gabe Rhodes, who edited the film, as we were talking through a lot of that, I found myself feeling that to really explain it was also then to try to explain racism in America. The Best Psychological Thrillers of All Time. His soul, observing the repercussions of his death, seeks resurrection. Storm Acheche Sahlstrøm, Votes: Patricia Arquette, Ethan Hawke, Stars: Thriller. After asking Dana Andrews’s comically hardheaded Dr. Holden how can one differentiate between the powers of darkness and the powers of the mind, Niall MacGinnis’s wily satanic cult leader conjures up a storm of epic proportions to prove to the pragmatic doctor that the power of the dark arts is no joke. Frédéric Pierrot, $0.33M, PG-13

Rowin, There are great Bond songs, and then there are decent tunes that happened to become Bond themes. Stars: | | Jonathan Jakubowicz |

Rebecca Griffiths, Votes: 114,805 By the time that The Monster reveals itself to be a horror film, we’re so engrossed in Kathy (Zoe Kazan) and Lizzy’s (Ella Ballentine) pain that the arrival of the titular menace strikes us as an authentic violation of normality, rather than as a ghoul arriving on demand per the dictates of the screenplay. Bradley discusses how the forces of collaboration and intuition inform her filmmaking process. Don’t avert your eyes from Alfredson’s gorgeously, meaningfully aestheticized vision, though you may want to cover your neck. Drama, Romance, Thriller. Austin Stowell,

The filmmakers have hit upon something special with the Danvers State Mental Hospital, whose sprawling Victorian edifice looms large over the narrative: A motley crew of asbestos-removal workers, led by matrimonially challenged Gordon (Peter Mullan), run afoul of a baleful, possibly supernatural, influence within its decaying walls. In that sense “From Russia with Love” (as written by Lionel Bart) is a proficient number that nonetheless leaves the listener craving something with a little more muscle. | Ashlynn Yennie, Stars: With the exception of the title track, though, the legendary disco duo’s contributions to Janet’s sophomore effort, Dream Street, fell far short of their iconic work with the likes of Donna Summer.

When Coolidge sings, “Let the flight begin,” she doesn’t conjure the image of a pilot preparing for takeoff, but of a passenger popping a Dramamine. Carolyn Lawrence, Votes: Thus, Boyhood isn’t about the creation of a soul, but about the unburying of one: The most crucial difference between the cloud-gazing little boy of the first shot and the lovestruck, scruffy young adult of the final shot is simply that the latter has found a voice with which to articulate the wonder he has always felt whenever he stares up at the sky. Piper Curda, | That’s ultimately the challenge of making films, you can only tell stories and say things one frame at a time, from one dimension. The fantasies of the film are more “real” than anything he’d written before, because they define who we think we are. It really unequivocally embeds itself into every element of your day.

But then, a week later, he did an articled—Pretty in Pink had just come out. Belén Fabra, | Gross: Director: Stars: You don’t watch Laugier’s harrowing feel-bad masterpiece—rather, you’re held in its thrall. Wilkins, Director Mike Flanagan’s Before I Wake hints—in flashes—at a remarkably cruel psychodrama, physicalizing one of the worst and most common fears that orphans share: that they’re awful and unlovable, and therefore undeserving of parents. Funny enough, I watched Smooth Talk after I’d done a big rewatch of a lot of the John Hughes films and others from the era. |

Jeffrey Tambor, It’s structured as an escalating series of reveals, from the frisson elicited by inexplicably mobile furniture on up to third-act hysteria derived from birth imagery, child peril, and the eternal creep factor of video snow in a dark room. Director: Michael Almereyda But it’s only the basic tenor of a psychopath slaying victims one by one that’s remained intact within the subgenre in the 40-plus years of this film’s existence. #419 of 1,189 Every Oscar Winning Film Ever#117 of 242 The Best Psychological Thrillers of All Time, #45 of 63 The Best Ever Robin Williams Movies#22 of 48 40+ Powerful Movies About Pedophilia. Minogue doesn’t have the vocal prowess to carry some of these songs—“Surrender” is a less sultry rendition of a song recorded by Tia Carrere a year earlier—but she admirably pushes her voice to its limits on the string-laden “Dangerous Game” and “Automatic Love.” The cautionary “Confide in Me,” with its hypnotic hook, Middle Eastern strings, and ominous guitar riff, calls for a sensual and understated performance—and Minogue delivers. Stars: Everything about the song feels grand and triumphal—right down to the lyrics, in which Corgan sings, “I’m gonna fly forever/We’re gonna ride the rainbow,” as if he’s approaching the gates of rock n’ roll Valhalla. | Gross: Theirs is a kind of hipster drag, the feigning of a communal style as a way to ensconce oneself from the solitude of cosmopolitan adulthood. Joel rediscovers his love for Clementine through fantasy, which is to say through his clouded memories of her. So many films, particularly American ones, tell us that we can be whatever we want to be, and that people who don’t achieve their desired self-actualization are freaks.

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