Cast: Lisa Bowman, Larry Fessenden, Dick Russell, Stan Kaplan, Michael Buscemi Director: Kelly Reichardt Screenwriter: Kelly Reichardt Distributor: Oscilloscope Laboratories Running Time: 76 min Rating: NR Year: 1994 Buy: Video, Review: Depraved Views Modern Society Through the Lens of Frankenstein, Review: Jim Jarmusch’s The Dead Don’t Die Is Undone by its Meta-Film Aspirations, Interview: Larry Fessenden Talks Like Me, Online Culture, & Horror. 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. Outside the city’s walls, the forest is inundated with them, and the Lord Protector (Simon McBurney) needs to put his farmers safely to work. Notably absent are the supernatural undertones and fetishistic sexuality, and Bava even suppresses the vigorous impulses and desires that drive his characters to exteriorize their feelings in vicious bursts of violence by offering no valid (or convincing) psychological explanation. Angst is as singular and exhausting an account of psychopathy as any put to celluloid, thrusting the viewer helplessly into discomfiting closeness with a killer without attempting to explain or forgive his heinous acts. It wears its pedagogical message on its sleeve but is betrayed by a lack of substance. In the end, theme takes too much priority over threatening atmosphere in Come Play. Clayton Dillard, Writer-director Pascal Laugier’s Martyrs leaves you with the scopophilic equivalent of shell shock. This region is where Jeffrey Epstein allegedly outright purchased a young woman, Nadia Marcinko, and where Donald Trump’s third wife (whom Epstein claimed to have introduced to the Donald) hails from as well. 2020. They’re all victims of Synchronic, a designer drug that literally sends young people, with their soft pineal glands, into the past—and just how far depends randomly on where they are in the present. Synchronic echoes Richard McGuire’s 2014 graphic novel Here and David Lowery’s 2017 film A Ghost Story, exploring a physical location by journeying across time but not space. Mobile site. Whether it's casually firing at bugs on the floor, or shooting at the neighbor that realized degenerates snuck into their pool, the conspicuous pair never bore. Sorogoyen’s camera begins a methodical pan along the coastline, at last centering one of the tiny figures, who turns out to be Elena walking head down in a sand-colored dress. Don’t avert your eyes from Alfredson’s gorgeously, meaningfully aestheticized vision, though you may want to cover your neck. The wrenching ambiguity of 2014’s Inherent Vice, in which Anderson fluidly dramatizes the psychosexual ecstasy, despair, and hilarity of corrosive commercialist annihilation, gives way in the book to Anderson’s 1997 breakthrough, Boogie Nights, which Nayman astutely sees as a virtuoso primitive work, an epic that (too) neatly bifurcates pleasure and pain into two distinct acts while disguising its sentimentality with astonishing camera movements and a tonal instability that’s probably equal parts intended and inadvertent. Nayman’s discussion of Anderson’s ellipses implicitly cuts to the heart of why some critics and audiences resist Anderson’s work. 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. Throughout His House, Weekes’s seamlessly blends horror with elements of kitchen-sink drama and African folklore, morphing the domestic space into an uncanny, liminal zone where the distinctions between past and present, as well as Africa and Europe, are blurred beyond recognition. The horror film says: Wait Jack, it ain’t that easy. Rereleased this year through a Kickstarter from Oscilloscope Laboratories, River of Grass isn’t able to reach the peaks of Reichardt’s later monumental work, but it’s educational in mapping out her concerns as a filmmaker and a stirring reminder of her abilities as a visual stylist. But there’s hope in brotherhood, and in negotiating the ghostly Santi’s past and bandying together against the cruel Jacinto (Eduardo Noriega), the film’s children ensure their survival and that of their homeland. Murnau’s Nosferatu? Instead, the whole affair is wasted on a stunt that gets Cohen immediately kicked out of the event. Things come to a head in a showy dramatic scene roughly halfway through the film set inside a swanky hotel ballroom. In other moments, though, Sole’s directorial control is magisterial. The Criterion Channel’s November 2020 Lineup Features Claire Denis, The Film Foundation, BFI London Review: Colin Firth & Stanley Tucci Exude a Powerful Love in, Marlon Riggs’ Empathetic Anthems of the Black Queer Experience in America. Abhimanyu Das. © Beija Flor Filmes. [Review] River of Grass Michael Snydel March 11, 2016 Kelly Reichardt ’s River of Grass is a “lovers on the run” film, but the main characters aren’t lovers, and their version of the lam is spending a few days at a flop-house in an adjacent zip code. Weekes paints a rich portrait of the migrant experience, accounting for the inextricable nostalgia for home and the impulse to conform and cut ties with the past.

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