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synopsis=A former banker, his actress wife, and their spirited daughter book a vacation at an isolated modern home in the Welsh countryside where nothing is quite as it seems
Cast=Avery Tiiu Essex
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AVOID — THE STOOOPID KID IN IT IS WELL ANNOYING ! NOT WORTH WATCHING AT ALL.
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«An ant doesn’t know what a cathedral is. br>
I can see why this one has so many unimpressed reviews, it’s a pretty specialist piece. Basically, it plays like a love letter to Mark Z. Danielewski’s immortal genre-bending modern philosophical classic of semiotic arcana (now try saying *that* ten times quickly) novel/dossier, House Of Leaves.
That one’s pretty esoteric, and so is this film, in the same vein.
Few people know House Of Leaves — even among horror lit geeks, it’s distinctly obscure — and even fewer liked it. But those who like it, love* it.
This film is for them.
This is a mentally twisty, physically non-Euclidian nightmare about marriage, love, guilt and redemption. If it pings as anything, if you had to put a single label on it, you could probably call it a gothic horror — though very much a firmly *modern* interpretation.
The characters’ rich and morally complex internal lives are explored, the nuances and often struggles of romantic commitment are highlighted, and parental love is the absolute centrepiece around which the rest of the drama turns. Indeed, this horror is one which (much like the first 20 minutes of Stephanie) touches on the uniquely chilling nature of the specific fears exclusive to those viewers with children; the vulnerable babe innocently wandering into the woods, while those who would give their lives to protect them are shut out of any control, helpless to intervene in the terrible passion play to which they are forced to bear witness.
If for nothing else than that, this film will move some viewers to horror more deeply than others.
As for the acting, it’s good — the players deliver rich, complicated performances that are deeply satisfying if undeniably uncomfortable to watch, but then one expects such from veteran Bacon, and to waste words on repeating the litany of his talents would be gilding the lily, so I wo’t bother.
More refreshingly, even the anime-eyed and lissome Amanda Seyfried gets a chance in this flick to prove to objectifying viewers that she’s so much more than eye candy, as she throws down the mike with a portrayal of a loving mother and still-very-much-attracted young «trophy» wife at a personal crossroads between superego and id; between the fruit on the branch that’s tantalisingly within reach and all there is to lose in eating it.
The portrait she paints is vibrant with a certain emotional *fierceness* in the veracity of the love she feels for both her husband and daughter, belied with an unexpected fragility beneath the passion and bravado — some sort of brittle-bright intensity undercutting the romance of that commitment, and imbuing the character with some unmistakably sharp edges which any one of the countless less talented actresses of her particular early-00s-high-school-movies origin would struggle to reconcile in a way that made the character seem anything more than simply bipolar.
The moral convolution of this vivacious but damaged woman counterintuitively works to make her seem *more* sympathetic, rather than less so. She is challenging, and even reprehensible, but never entirely unlikable (though of course YMMV.
And little Avery Tiiu Essex, playing their *very* small daughter, packs a lot of dramatic punch for her early age; she is by turns meltingly tender, heartbreakingly innocent, breathtakingly perceptive (playing very much against the common adult trope that children are oblivious) and, on occasion, shrilly exuberant to the point of annoyance — in other words, an actual child, in all its sweet, demanding, messy glory, as opposed to the one-note performances so often seen from actors so young (after all, acting is a skill, like any other, and skills *do* generally take time to acquire.
This portrait, so naturalistic, puts your heart all the deeper and more firmly into your throat for the danger she finds herself besieged by.
Your can’t help but invest in her, and in the mutually-besotted (with her, at least) adults to whom she has become such a blessing.
This is not simply a horror movie — or rather, it is not *only* a horror movie; it is also a domestic drama, a paternal love story, an examination of the lies we tell ourselves to maintain our self-image, and a thesis, ultimately, upon forgiveness and sacrifice.
It’s *also* one Hell of a horror movie, for those into a very neglected niche. For most others, it will fly over their heads (no judgement in that assessment, by the way; no one thing is for everyone.
If you loved the Escher-room quest scene in Labyrinth, this will send your submarine positively skyward.
Expect cult status to follow.
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I have a summary for you. It’s the first rose ceremony of the movie and the drama is already ratcheted up! Two very different men – Blake and Dylan – have their hearts set on handing their rose to Hannah G., but who will offer it to her and will she accept?
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Euphoria centers on CDC researcher Abby Arcane. When she returns to her childhood home of Houma, Louisiana, in order to investigate a deadly swamp-borne virus, she develops a surprising bond with scientist Alec Holland — only to have him tragically taken from her. But as powerful forces descend on Houma, intent on exploiting the swamp’s mysterious properties for their own purposes, Abby will discover that the swamp holds mystical secrets, both horrifying and wondrous — and the potential love of her life may not be after all.
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So we get more space adventures, more original story material and more about what will make this 21st MCU movie different from the previous 20 MCU films.
Watch You Should Have Left , viewers don’t consider the quality of movies to differ significantly between DVDs and online streaming. Problems that according to respondents need to be improved by streaming movies including fast forwarding or rewinding functions, and search functions. This article highlights that streaming quality movies as an industry will only increase in time, because advertising revenues continue to soar on an annual basis across industries, providing incentives for the production of quality content.
He is someone we don’t see happening. Still, Brie Larson’s resume is impressive. The actress has been playing on TV and film sets since she was 11 years old. One of those confused with Swedish player Alicia Vikander (Tomb Raider) won an Oscar in 2016. She was the first Marvel movie star with a female leader. And soon, he will play a CIA agent in a movies commissioned by Apple for his future platform. The movies he produced together.
Unknown to the general public in 2016, this “neighbor girl” won an Academy Award for best actress for her poignant appearance in the “Room”, the true story of a woman who was exiled with her child by predators. He had overtaken Cate Blanchett and Jennifer Lawrence, both of them had run out of statues, but also Charlotte Rampling and Saoirse Ronan.
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