#American dystopian action horror film

[k-i-l-l-e-r-b-e-e-6-9]

[msclaritea]

Box Office: ‘Civil War’ Starts Off With Impressive $2.9M in Thursday Previews

Alex Garland's controversial movie about the political divide in America easily scored the best preview number ever for A24.

BY PAMELA MCCLINTOCK

APRIL 12, 2024 9:18A

Alex Garland‘s dystopian action movie Civil War has started off its North American box office run with an impressive $2.9 million, a record for indie studio and distributor A24.

The $50 million movie about a divided America is a big swing for A24 as it tries to produce bigger movies, and is its most expensive production to date.

Civil War is tracking to open north of $20 million, although one leading tracking service has a slightly lower range of $19 million to $20 million. As with the preview number, that would be record for A24, beating the $13.6 million opening of A24’s horror pic Hereditary in 2018.

A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo.

Set in the near-future, the story follows a wartime photojournalist (Kirsten Dunst) and her colleagues as they make their way across a hostile and divided United States of America that has been torn apart under the authoritarian rule of a three-term president (Nick Offerman). Yet the film shys away from red state/blue state divisions, and the politics behind the conflict are generally left unexplained, other than to say that one of the president’s first first actions was to disband the FBI in an apparent nod to former President Donald Trump, who has called to “defund” the Bureau.

Civil War‘s timing surely isn’t a coincidence as it hits cinemas amid a contentious election year in which President Biden and former President Trump are once again the leading candidates for their respective parties as Trump seeks to return to the White House

At a SXSW panel following the film’s premiere, Garland said it made sense to release Civil War now, although it’s not as if there is anything new about the contentious political discourse gripping the country.

“I think all of the topics in in [Civil War] have been a part of a huge public debate for years and years. These debates have been growing and growing in volume and awareness, but none of that is secret or unknown to almost anybody,” Garland said. “I thought that everybody understands these terms and, at that point, I just felt compelled to write about it.”

Cailee Spaeny, Jesse Plemons and Wagner Moura also star.

2012–2013: Founding and early years

A24 was founded on August 20, 2012, by film veterans Daniel Katz, David Fenkel, and John Hodges. Katz formerly led the film finance group at Guggenheim Partners, Fenkel was the president, co-founder and partner at Oscilloscope, and Hodges served as "Head of Production and Development" at Big Beach. The name "A24" was inspired by the Italian A24 motorway Katz was driving on when he decided to found the company.

Guggenheim Partners provided the seed money for A24. The company was started to share "movies from a distinctive point of view". In October 2012, Nicolette Aizenberg joined as head of publicity from 42West where she was senior publicity executive.

The company began its distribution of films in 2013. The company's first theatrical release was Roman Coppola's A Glimpse Inside the Mind of Charles Swan III, which had a limited theatrical release. Other 2013 theatrical releases included Sofia Coppola's The Bling Ring, Harmony Korine's Spring Breakers, James Ponsoldt's The Spectacular Now, and Sally Potter's Ginger & Rosa.

In September 2013, A24 entered a $40 million deal with DirecTV Cinema, where DirecTV Cinema would offer day-and-date releases 30 days prior to a theatrical release by A24; Enemy was the first film to be distributed under the deal. That same year, A24 entered a deal with Amazon Prime, where A24-distributed films would be available on Amazon Instant Video after becoming available on Blu-ray and DVD.

2014–2017: Television and later productions

In May 2015, A24 announced that it would start a television division and began producing the USA Network series Playing House, as well as working to develop a television series that would later become Comrade Detective, produced by Channing Tatum. The company also announced that they would also finance and develop pilots.

In January 2016, Sasha Lloyd joined the company to handle all film, television distribution and business development in the international marketplace. The company, with cooperation from Bank of America, J.P. Morgan & Co. and SunTrust Banks, also raised its line of credit from $50 million to $125 million a month later to build upon its operations. In April, the company acquired all foreign rights to Swiss Army Man, distributing the film in all territories, and partnering with distributors who previously acquired rights to the film, a first for the company. In June, the company, along with Oscilloscope and distributor Honora, joined BitTorrent Now to distribute the work of their portfolio across the ad-supported service.

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Not much time is shown in this universe. All the audience knows is that Evelyn works at a pizza shop. She is shown wearing a ridiculous costume and waving around a sign.

"A24 and writer-director Garland held the movie’s world premiere last month at the South by Southwest Film and TV Festival, an ideal venue since many of the attendees are younger adults, the film’s target demo..."

Penske Media Corporation (PMC /ˈpɛnski/) is an American mass media, publishing, and information services company based in Los Angeles and New York City. It publishes more than 20 digital and print brands, including Variety, Rolling Stone, Women's Wear Daily, Deadline Hollywood, Billboard, The Hollywood Reporter, Boy Genius Report, Robb Report, Artforum, ARTNews, and others. PMC's Chairman and CEO since founding is Jay Penske.

President Trump awards Medal of Freedom to Roger Penske | Fox News Video

In addition to media publications, Penske Media Corporation owns the Life Is Beautiful Music & Art Festival and is a 50 percent stakeholder in South by Southwest. It is also the owner of Dick Clark Productions which includes the award shows Golden Globe Awards, American Music Awards, Streamy Awards, Academy of Country Music Awards, and the Billboard Music Awards.

Jay Penske--NACSCAR Heir ARRESTED...and It's A Pisser

@aeltri I'm a bit fuzzy on the details. What was that you told us, recently, about Pizza and Hotdogs?

[a-slut-for-smut]

*years later* thanks so much for the tag @lovelybeautifulpretty!! cant recall if i warned u before but i tend to go buckwild with these, sorry and your welcome :D

Here are top 10 fav films and surprise surprise, im just a hot mess of eclectic tastes 🤷‍♀️ in no particular order:

Robocop

This 80s masterpiece is a smart political satire/social commentary disguised as a comic book/action revenge movie that interweaves hilarious dark humor, ultraviolence and science fiction in a simple yet seamless plot. It will honestly SHOCK you just how much it has to say on American evolutions in capitalism, media influence, desensitization to violence, gentrification, and our perception of heroes, each in service of a greater conversation about identity and culture.

Atonement

I consider this film the pinnacle of an angsty/doomed romance executed perfectly on-screen: the performances, the cinematography, the music, EVERYTHING!! Funny story, me & the girlfriends went to see this in theaters expecting a typical period romance; left completely snot-dripping, bawling our eyes out. I shit you not, i felt the utter devastation from this film for WEEKS

Amelie

If there was a film to define the term "whimsy" then this is it!! Its so creatively rich, with such a fun and sweet art style in the characters, the way its filmed, the music, the romance- it'll make your heart ache for days.

Inglorious Basterds

I'm a big whore for Tarantino ever since Reservoir Dogs, but I consider film his ABSOLUTE masterpiece. The comedically distinct characters, the sharpness of dialogue, how he builds up the tension of scenes to the point of explosion with just a simple conversation- *CHEFS KISS*

Children of Men

This dystopian sci fi drama was made in 2005 but with all the social commentary woven into the background of the story, it is eerily topical in today's tumultuous political & social climate (which is very telling about us as a society I suppose). The director Alfonso Cuaron is a master at "show don't tell" filmmaking and it SHOWS. Also the tracking long shots in this film are something to witnessed, beheld even. Masterpiece.

Bridget Jones' Diary

My absolute FAV romantic comedy, i totally relate to this bumbling, epic disaster of a woman, even more so now that i'm 30+ like her. Fun fact, the plot is heavily inspired by Pride & Prejudice which is probably why i love it so much. Also Colin Firth 🥵 (which leads me to another fun fact- he was cast as Mark Darcy mainly due to the author's crush on him from his portrayal of Mr. Darcy in the 1996 BBC miniseries which put him on the map, and rightly so. I know the film adaption is super popular, but any P&P fan NEEDS to watch this version, so so good)

Chicago

This musical ruined all theater musicals for me forever- the film adaptation is THAT good!!! The spectacle, the numbers, the PERFORMANCES- Catherine Zeta Jones slayed as Velma Kelly (also my ovaries), i love it so much that i watched it 3 times back to back on a flight i honestly couldnt get enough lol

Kung Fu Hustle

This film is Stephen Chow's magnum opus- an action comedy that blends kung-fu and all sorts of historical chinese references and homages of the directors favorite films, you can tell the passion and the fun that went into making this film and it really REALLY shows. I consider this a perfect execution of what a live-action anime could be, this film is an absolute blast and classic

Annihilation

I've got a bit of a cosmic/existential horror kink (where a form of media makes you question the world/life as we know it or triggers an existential crisis) and this film gets it RIGHT. It's a philosophical sci-fi thriller but is so much more with its themes of pain and identity, exploration of humanity's disposition for self destruction but also its unsettling visuals and soundtrack. Funny story, the sound design is so alien/unsettling that it spooked my cat from her nap and got her staring at the screen with wide eyes and an arched back trying to figure out what the eff was going on (me as well).

Also love how its an all female cast but its never mentioned in-film; just a bunch of capable women going to take care of business (i didnt even notice until my 2nd watch)- im a fan of this approach as it in effect "normalizes" this scenario whereas calling it out as if its special just highlights how it's an exception...anyway, its a horrifically beautiful film.

Sicario

Denis Villeneuve can do no wrong in my eyes (nor cinematographer Roger Deakins), a beautifully shot thriller that serves as a social commentary on how laws are meant to be broken, lines are drawn and then erased when convenient, as long as it serves a so-called greater purpose, that keeping a moral code is a futile effort. Brilliant performed and written, nuanced characters, glorious cinematography and a killer soundtrack (RIP Johan Johansson), A+++++

alright sorry for the long rambling post, cant help myself! Tagging a bunch a folks that seem alive per my notifs, no pressure of course!!!

@writebecauseyoucannotbreathe @nuri148 @your-lavender-dreams @warbarbie @levi4mikasa @onigiri-dorkk @helena-thessaloniki @misplacedgamer @lovely-apparitions @ally147writes @stalactice @vero-icon @mylienated @hellhorsedotjpg @magicalanchordestiny

[benkybot]

6/100 Death Race 2000

Death Race 2000 is 6/100 on the list and I need to start by saying 2 things, 1:I have never heard of this film before and 2: it is definitely not a horror film. I think it got put on the horror list because it has a very macabre/gruesome plot and our main protagonist looks quite creepy, but I'd say it's more on the side of dystopian sci-fi/action. That being said, this film is really good, and I would 100% encourage you to go into it blind without reading what the plot is about, because it is really out there.

That being said, if I haven't convinced you yet, I will describe the plot. In a dystopian American dictatorship an annual race is held across America by the 4 greatest racers of all time. The goal of the race is to hit as many people with your car as possible (old people and babies are worth the most points obviously). It's an incredibly odd and stupid plot that takes itself just seriously enough that it can get you invested. It's incredibly funny and action packed.

The characters are also incredibly likable. That's not to say that they're likable people but they are all portrayed to be over-the-top maniacs and the way they interact with each other is really just interesting, especially the news reporters who are eternally fixed in a state of pure joy no matter what atrocity takes place on the road.

Overall, this was a fun surprise and I really liked it 7.8/10

[maitsuki]

IDEA 3: ip precedent research projects

The Matrix, a science fiction action film. Directed by the Wachowskis. 1999.

Pantheon, an American science fiction animated show. Created by Craig Silverstein. 2022.

 終わりのセラフ (English Title: Seraph of the End), a Japanese dark fantasy manga series. Created by Kagami Takaya and Yamamoto Yamato. 2012.

X-Men: Days of Future Past, a superhero film. Directed by Bryan Singer. 2014.

Gattaca, an American dystopian science fiction film. Directed by Andrew Niccol. 1997.

I Have No Mouth, and I Must Scream, a point and click adventure horror game. Developed by Cyberdreams and The Dreamers Guild, co-designed by Harlan Ellison. Based on Harlan Ellison's short story. 1995.

Psycho-Pass, a Japanese cyberpunk psychological thriller anime. Directed by Shiotani Naoyoshi and Motohiro Katsuyuki. 2012.

[themovieblogonline]

Civil War Review: Alex Garland's Heartwrenching War Masterpiece

When you go to the theatre to see a brand new Alex Garland movie, you know that it's not going to be a conventional movie by any means. Even his most accessible movie in my opinion - Ex Machina - is still an absolutely enthralling and bizarre dive into science fiction. The same can also be said about his follow-up film Annihilation. And although I know that a lot of people out there loathe Men with a passion, I personally think it's an excellent horror film that never fails to get under my skin, even if it's maybe not as good as it was the first time I saw it. https://www.youtube.com/watch?v=aDyQxtg0V2w Although I was familiarized with Garland's filmography before seeing his latest film Civil War, nothing could've truly prepared me for the emotionally taxing and genuinely depressing journey the movie was going to take me on. It's the kind of movie that, as soon as the credits are finished rolling, you feel absolutely disgusted to your core but you also recognize that the film that you just watched is a total work-of-art. Truth be told, Civil War will be a difficult movie to rewatch because of its imagery and subject matter. But it's also one of the best movies of the year, and one of the best war movies ever made. It stands out as a profound commentary on the fabric of American society. Additionally, it delves into politics through the lens of a dystopian war drama. Set in a future America where divisions have escalated into a full-blown Second Civil War, the film intricately explores themes of loyalty, ideology, and the price of freedom through the journey of a team of journalists navigating the ravaged landscape. With a cast led by Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, and Nick Offerman, the film delivers a powerfully resonant narrative that captivates from start to finish. Garland's screenplay weaves a harrowing tale that, while dystopian, feels uncomfortably possible. It paints a grim picture of a nation torn asunder by its own contradictions. Kirsten Dunst's portrayal of Lee Smith, a photojournalist caught between her duty to report the truth, is particularly compelling. Her character's resilience and determination, juxtaposed with her vulnerabilities, make for a nuanced performance that anchors the film. Wagner Moura's Joel serves as a fitting counterpart, blending cynicism with an unexpected depth of emotion. The young Cailee Spaeny, as the aspirational Jessie, represents the heart of the film. Through her eyes, we witness the transformation from naivety to the stark realization of war's brutalities. One can only hope that Spaeny continues to receive incredible roles. Honestly, I'd go as far as to say that she deserves an Oscar for this performance. Stephen McKinley Henderson’s portrayal of the wise yet fatalistic Sammy offers a masterclass in supporting roles. He leaves an indelible mark despite limited screen time. Meanwhile, Nick Offerman's casting as the President—serving an unprecedented third term—was an inspired choice. Offerman channels an unsettling blend of charisma and menace, making the dictator all the more believable and chilling. Garland’s direction is meticulous, crafting scenes of urban warfare and quieter moments of introspection with equal care. His choice to showcase the stark contrast between the chaos of the battlefield and the eerie normalcy found in pockets of the war-torn nation underscores the absurdity and tragedy of civil conflict. The pacing of the film, coupled with its haunting score and visually arresting cinematography, builds a crescendo. It will leave viewers on the edge of their seats. Particularly noteworthy are the action sequences in Charlottesville, Virginia, and the heart-pounding ending. Both of which showcase Garland’s ability to handle large-scale set pieces without losing focus on the human element. The film's commentary on journalism is another layer that adds depth to the narrative. Lee and her team's ethical dilemmas challenge the audience to consider media's role in shaping perceptions of war. The bold narrative choice forces the audience to confront the moral ambiguity of vengeance and justice in times of war. It shows Garland's exploration of human darkness and revolutionary complexities. The final image of the film is a chilling reminder of the cycle of violence. Overall: Civil War is a masterful addition to the genre of dystopian war films. It offers a riveting, albeit bleak, vision of America's future that resonates with the current global political climate. With standout performances, particularly from Dunst and Moura, and Garland's expert direction, the film achieves a rare balance of thrilling entertainment and thoughtful commentary. Read the full article

[nsfwhiphop]

Them: "Hey, Angelo! Why do you always stay in the hood? Why do you refuse to go outside the hood?"

Angelo replied: "I have the answer, --- AREA 51 SCREENPLAY --- I encourage you to watch the film "The First Purge" and you will understand my life, I'm always war ready, they can't touch me. We have guns & ammo, ready to fight back against the aggressors. It's simple mathematics: Math Problem #1: - If you go outside the hood - You have no loyal soldiers. You are an easy target outside the hood.

Math Problem #2:

- If you stay inside the hood - You have 10.000 soldiers ready to fight back, this scares the enemy. You are untouchable in the hood. I encourage you to call the actor MoMcrae and his wife Lex Scott Davis, they will explain this movie to you, it's a classic film and I love the screenplay, it's a dope franchise, I enjoyed the Purge film franchise.

Link IG: https://www.instagram.com/itsmomcrae/

Link IG: https://www.instagram.com/scottyeye/

Don't hesitate to give this couple a phone call, actor MoMcrae and his wife Lex Scott Davis are righteous people, they will explain this movie in detail.

My life is a war, I'm always war ready and I encourage you to do the same if you care about your Christian faith, you have to be war ready, always ready to protect your faith.

Okay, this chat was fun! Bye, bye now! Read the wiki page - The First Purge is a 2018 American dystopian action horror film directed by Gerard McMurray

[notladylikes]

┊ ✧ 𝐨𝐫𝐢𝐠𝐢𝐧𝐚𝐥 𝐦𝐮𝐬𝐞𝐬 ▸ brief information.

┊ ✧ 𝐚𝐝𝐞𝐥𝐚𝐢𝐝𝐞 𝐦𝐢𝐜𝐡𝐞𝐥𝐥𝐞 𝐝𝐞𝐯𝐢𝐧𝐞 : faceclaim :  victoria pedretti . age :  twenty-nine . occupation:  former child star / bartender / owner of eclipse . birthdate :  january 12th . birthplace :  san diego, california . current location :  los angeles, california.  species :  human . race :  caucasian . sexual orientation :  pansexual . verse :  slice of life. / horror.  themes include : repercussions of her actions, becoming something better, narcotics anonymous, am i going insane?, owning up to your issues, former child star, revenge porn .

┊ ✧ 𝐚𝐦𝐞𝐥𝐢𝐚 𝐫𝐚𝐞 𝐣𝐞𝐧𝐧𝐢𝐧𝐠𝐬 : faceclaim :  alexandra breckenridge . age :  thirty-seven . occupation:  former veterinarian / local medical professional. birthdate :  september 12th . birthplace :  denver colorado . current location :  swanford, connecticut .  species :  human . race :  caucasian . sexual orientation :  pansexual . verse :  human experimentation / cause and effect . themes include : how did we get here?, struggling to remember, striving to forget, blackout moments, blood on my hands, chemically induced amnesia .

┊ ✧ 𝐜𝐚𝐢𝐭 𝐞𝐥𝐢𝐬𝐚𝐛𝐞𝐭𝐡 𝐬𝐮𝐭𝐡𝐞𝐫𝐥𝐚𝐧𝐝 : faceclaim :  emma mackey . age :  twenty-seven . occupation:  manager at a music store / lead singer of the re-awakening . birthdate : october 31st . birthplace :  phoenix , arizona . current location :  new orleans, louisiana . species :  human . race :  hispanic . sexual orientation :  pansexual . verse :  slice of life . themes include : loneliness, abusing alcohol + redemption, living life on the edge, music as a form of therapy.

┊ ✧ 𝐝𝐚𝐧𝐢𝐞𝐥𝐚 𝐫𝐞𝐲 𝐬𝐮𝐚𝐫𝐞𝐳 : faceclaim :  lindsey morgan . age :  twenty-seven . occupation:  auto mechanic / shop owner / illegal street racer . birthdate :  may 30th . birthplace :  little rock, arkansas . current location :  santa fe, new mexico  species :  human . race :  hispanic . sexual orientation :  pansexual . verse :  slice of life. / drama. / crime. themes include : growing up poor, adrenaline junkie, found family, making something out of nothing, late night thrill rides .

┊ ✧ 𝐡𝐞𝐧𝐫𝐢𝐞𝐭𝐭𝐚 𝐚𝐦𝐞𝐥𝐢𝐞 𝐰𝐢𝐥𝐤𝐢𝐧𝐬 : faceclaim: kate siegel. age : thirty-four. occupation: investigative journalist . birthdate : november 2nd. birthplace : hartford, connecticut . current location : bridgeport, rhode island . species : human. race : caucasian. sexual orientation : heterosexual. verse :  horror. / paranormal. themes include : mental illness, the monster you made of me, insomnia, the tragedy of family, learning the truth .

┊ ✧ 𝐤𝐚𝐫𝐨𝐥𝐢𝐧𝐚 𝐞𝐥𝐲𝐬𝐞 𝐡𝐚𝐰𝐭𝐡𝐨𝐫𝐧𝐞 : faceclaim:  hannah john kamen . age :  thirty-three . occupation:  black market smuggler . birthdate :  september 18th . birthplace :  lower city, new brunswick . current location :  lower city, new brunswick.  species :  cyber modified human . race :  mixed  . sexual orientation :  pansexual . verse :  crime. / cyberpunk. / dystopian.  themes include : helping the helpless, crime does pay, on death's door, making connections, sleeping in back rooms, ripper doc shenanigans.

┊ ✧ 𝐥𝐚𝐢𝐥𝐚 𝐝𝐞𝐯𝐢𝐤𝐚 𝐬𝐨𝐫𝐞𝐧 : faceclaim : naomi scott. age : information here soon. occupation : lawyer in training. birthdate : information here soon. birthplace : information here soon. current location : manhattan, new york species : human. race : indian. sexual orientation : bisexual . verse : familial guilt. / drama. themes include : making something out of nothing, striving for the best, sibling drama, goody two shoes, the golden child .

┊ ✧ 𝐫𝐚𝐯𝐞𝐧 𝐝𝐞𝐬𝐢𝐫𝐞𝐞 𝐛𝐫𝐢𝐝𝐠𝐞𝐬 : faceclaim:  maisie richardson sellers . age :  twenty-six . occupation: film-maker / videographer . birthdate :  november 8th . birthplace :  detroit, michigan . current location :  san diego, california .  species : human . race :  black american . sexual orientation :  homosexual. verse : slice of life. / drama. themes include : identity crisis, becoming relevant, making something out of nothing, disappointing her parents.

┊ ✧ 𝐭𝐚𝐥𝐢𝐚 𝐠𝐫𝐚𝐜𝐞 𝐜𝐫𝐨𝐰𝐥𝐞𝐲 : faceclaim:  samara weaving . age :  twenty-nine . occupation:  grave robber / black market organ salesman . birthdate :  april 11th . birthplace :  roanoke, :virginia . current location :  roanoke, virginia  species :  re-animated human . race :  caucasian . sexual orientation :  heterosexual . verse :  supernatural. / drama.  themes include : family disruption, what have i become, loss of self, necromancy, we play with dead things .

┊ ✧ 𝐯𝐚𝐥𝐞𝐫𝐢𝐞 𝐚𝐧𝐧𝐞 𝐥𝐚𝐧𝐝𝐫𝐲 : faceclaim: riley voelkel. age: twenty-nine. occupation : deputy at the local police department. birthdate: july 11th. birthplace: woodridge hollow. current location: woodridge hollow/verse dependent. species: human. race: caucasian. sexual orientation: bisexual. verse: crime. / drama. / horror. themes include : drinking to cope, what have i done?, picking up the pieces, relying on family, something's coming for me, darkness rises .

┊ ✧ 𝐯𝐢𝐨𝐥𝐞𝐭 𝐦𝐚𝐞𝐯𝐞 𝐝𝐚𝐰𝐬𝐨𝐧 : faceclaim:  michelle dockery . age :  thirty-six . occupation:  con-artist . birthdate :  december 2nd . birthplace :  new haven, maine . current location :  new york city, new york.  species :  human . race :  caucasian . sexual orientation :  heterosexual . verse :  crime. / mafia / drama. themes include : following in her father's footsteps, losing her children, toppling the organization, becoming your own boss .

[abdulworldtravel2023]

The PURGE

The Purge is an American anthology media franchise centered on a series of dystopian action horror films distributed by Universal Pictures and produced by Blumhouse Productions and Platinum Dunes, which  Violence is strong throughougt the movie, with various beatings, stabbings, and shootings, with lots of dead bodies (including teens) and a fair amount of blood. Language includes a few uses of "f--k" and other strong words, and a teen couple is shown making out and getting a bit hot and heavy.Plot. In 2014, a political party called the "New Founding Fathers of America" are voted into office following an economic collapse and pass a law sanctioning the "Purge," an annual event wherein all crime (including murder) is legal, and emergency services are unavailable for 12 hours.The shooter is Big Daddy, who looms over Leo, stating that he shouldn't have saved Eva and Cali, as they were his to kill. He adds that The Purge is no time or place to be a hero. Before he kills Leo, Big Daddy is shot in the head by Warren, whom Leo chose not to kill after all. Mary requests that her neighbours and the injured man from the previous night leave the house at 7 a.m. Although James appeared to be dead, his family spent the night together. Dead bodies blanket Mary's yard and house at the conclusion of the film, and a news report says that last night's Purge was the most successful one yet

[drew-pinard]

Blog #5

The film movement I choose to explore for the course of this semester was the Ozploitation film movement. “Ozploitation films are exploitation films – a category of low-budget horror, comedy, sexploitation, and action films – made in Australia after the introduction of the R rating in 1971. The year also marked the beginnings of the Australian.” It’s very much like those films of which were frequently shown in grindhouses. For those who don’t know what grindhouse movies they are are films shot for and screened at grindhouses characteristically contain large amounts of sex, violence, or bizarre subject matter. One featured genre were "roughies" or sexploitation films, a mix of sex, violence, and sadism. Quality varied, but low budget production values and poor print quality were common.

Grindhouse literally got its name from the fact that it consistently is pushing out movie after movie. Grinding them out. So, all and all Ozploitation films are like the Australian version of exploitation films. One of the most well-known directors of that movement and whose films I will focus on discussing in this blog entry is none other than George Miller, who if you don’t know is the director of the Mad Max franchise which has spawned four films since 1978 and with plans for another to be released soon. Filming for the first Mad Max took “place in and around Melbourne. Many of the car chase scenes were filmed near the town of Little River, northeast of Geelong.” The film was also made a mere budget of only 350,000 which is almost nothing. George Miller stated how he called the filming of Mad Max “guerilla filming” kind of like that of guerilla warfare. Miller stated in an interview that “while $350,000 in 1979 is roughly $1.8 million in 2020, it's still a pitifully small amount of money for a feature film. To cut costs it was a case of 'all hands-on deck'. Both Miller and producer Byron Kennedy would personally sweep the debris off the road at the end of the day after a stunt scene.” If you look at the critical response of Mad Max, it was very good.

Mad Max currently holds a 90 percent Tomato meter score on Rotten Tomatoes, based on 61 reviews. The audience score is slightly lower at 70 percent, based on over 140,000 ratings. With that said there are still some critics who don’t seem to enjoy it as other have. With some pointing out that the Millers story behind the film is relatively basic, which is very fair. You’re not going into a Mad max film to be awed by amazing dialogue and character development, maybe you are but there are defiantly other better options out there if that is what you’re going for. Overall, it seems that many of the critics of the movie appreciated the dystopian atmosphere for it put a new spin on an action movie that wasn’t very popular at the time. What was amazing to see though, was the critical reception for Mad Max: Fury Road, which is George Millers directorial return to the world and this film visualizes his new approach to the film. This film according to many critics seems to be George Millers best film in the entire Mad Max franchise.

One source noted “the film was praised by critics for its direction, writing, action sequences, musical score, technical aspects, and performances (particularly those of Hardy and Theron). It won Best Film from the National Board of Review and was also named one of the top ten films of 2015 by the American Film Institute.” Fury Road premiered in Los Angeles on 7 May 2015 and was released in Australia on 14 May. It grossed $415.2 million at the worldwide box office, making it the highest-grossing Mad Max film. The Guardian noted how the film was “like Grand Theft Auto revamped by Hieronymus Bosch, with a dab of Robert Rodríguez’s from Dusk till Dawn.”

Another critic noted how From its very first scenes, “Fury Road” vibrates with the energy of a veteran filmmaker working at the top of his game, pushing us forward without the cheap special effects or paper-thin characters that have so often defined the modern summer blockbuster. A prequel, Furiosa is set for release on 24 May 2024, with Miller returning as writer and director. George Miller's response to critics is actually very interesting. Whereas most directors you would assume to try and avoid the critics and just focus on what you have made, Miller appreciates the audience’s response and believes they are the ones who tell you what the movie is about. Stating in one interview how Look, you don’t really know what you’ve got. When you make the film, you know what you hoped to accomplish. It’s audiences who tell you what you’ve got. Sitting in the cinema with paying audiences, feeling their response, then I believe it.

“'Mad Max' Director George Miller: The Audience Tells You 'What Your Film Is'.” NPR, NPR, 8 Feb. 2016, https://www.npr.org/2016/02/08/465989808/mad-max-director-george-miller-the-audience-tells-you-what-your-film-is.

“Mad Max: Fury Road Review – Tom Hardy Is a Macho Mr Bean in Brilliantly Pimped Reboot.” The Guardian, Guardian News and Media, 11 May 2015, https://www.theguardian.com/film/2015/may/11/mad-max-fury-road-review-tom-hardy.

Tallerico, Brian. “Mad Max: Fury Road Movie Review (2015): Roger Ebert.” Movie Review (2015) | Roger Ebert, https://www.rogerebert.com/reviews/mad-max-fury-road-2015.

Thompson, Anne. “George Miller Looks Back on 'Mad Max: Fury Road,' and Forward to More Furiosa.” IndieWire, IndieWire, 23 July 2019, https://www.indiewire.com/features/general/george-miller-mad-max-fury-road-interview-best-action-movie-of-decade-furiosa-sequel-1202156053/.

“Mad Max (1979).” ‎Mad Max (1979) Directed by George Miller • Reviews, Film + Cast • Letterboxd, https://letterboxd.com/film/mad-max/.

[k-i-l-l-e-r-b-e-e-6-9]

𝔗𝔥𝔢 𝔓𝔲𝔯𝔤𝔢: 𝔄𝔫𝔞𝔯𝔠𝔥𝔶 (շօյկ) 𝔡𝔦𝔯𝔢𝔠𝔱𝔢𝔡 𝔟𝔶 𝔍𝔞𝔪𝔢𝔰 𝔇𝔢𝔐𝔬𝔫𝔞𝔠𝔬

[tyrannosaurus-trainwreck]

I propose a new rule for action film franchises.  Let’s call it the Settle Down There, Edgelord Rule.

Say you have a franchise--let’s use the Bond films as an example--where every single film, the fate of the entire fucking world hangs in the balance.  No matter what got accomplished in the last film, they’re right back at it in this film, having to save the entire world again.  But somehow, the stakes have to be higher than the last time, or it starts getting harder to get audiences back for more of the same, because it starts feeling really repetitive.

“Why’ve you dragged me back in from my life of sordid semi-retirement, M?” asks James fucking Bond. “Is it yet another doomsday device in the hands of a madman?”

“We should be so lucky, 007,” says Q, handing James Bond a fountain pen that is also a doomsday device. “This time it’s a doomsday device in the hands of two madmen, both of whom have extremely personal scores to settle with you.”

“Well in that case, I suppose I can hardly say no,” James Bond sighs wearily, already longing for the days when it was only a single madman with perhaps a nuclear warhead or two who harbored a vague and academic disapproval of spies in general.

The problem with the ever-rising stakes is that eventually it does become a bit ridiculous.  Remember when Fast and the Furious was about stealing consumer electronics for money?  And now barely eight movies later they’re stealing nukes and driving to space and somehow John Cena is involved?  Another two movies and they’ll be doing donuts on the moon to save earth from being blown up by previously-unmentioned alien conquerors.

So every so often, let’s say every third movie, writers should have to hit a reset button.  Not on the action or the mayhem or the actors’ intensity or whatever it is that gets eyes on screens and butts in seats.  Just, you know.  The stakes.

“Why’ve you dragged me back in from my life of sordid semi-retirement, M?” asks James fucking Bond. “Is it yet another doomsday device in the hands of a madman?”

“We should be so lucky, 007,” says Q, handing James Bond a fountain pen that is also a doomsday device. “This time the madman’s made off with one of the Queen’s corgis.”

“What?” James Bond demands, aghast. “How could you let this happen?”

“Their dog grooming credentials were impeccable. They passed every security check.  They’d have been allowed to groom Her Majesty herself,” M tells him grimly. “There’s something you should know, Bond.  It was... it was Trixie.”

“Not Trixie,” Bond gasps.  The look on his face is that of a man having a flashback to ‘Nam. “What do they want for her safe return?”

“That’s the sticky wicket, Bond,” Q volunteers, waving vaguely at a wall that begins playing a video.

On the wall, Willem Dafoe cuddles a corgi and stares dead-eyed at the camera.  When he speaks, it’s in an accent that’s vaguely Germanic but not like, enough to make any trade partners really mad about it.

“Trixie is such a good dog.  Such a good girl!” He looks at the dog, face becoming animated and warm. “Who’s a good girl?  Is it you?  It is you!  You’re a good girl!”

He looks back at the camera, eyes once again blank as a shark’s.

“I think, my friends, that Trixie is too good a dog for the rotting corpse of an empire that she was whelped into.  I shall take her with me, and together we shall venture into a brave new world of grassy farms with plenty of room to run and many, many children with which to play.  If you redeem yourselves, perhaps you shall live to see this world that I shall make.  Perhaps you shall live to go... to the dogs!”

The video cuts as he rubs the corgi’s ears and gives her a treat.

“That absolute bastard!” Bond snarls, hurling the fountain pen doomsday device across the room. “Tell me you have something to go on!”

And then we’re off to the races, with typical Bond-level shenanigans, fights, and body counts. 

It’s only that instead of having to come up with a scenario which is somehow more important or more dangerous than the last movie, which was already threatening to kill a billion people or knock the planet off its axis or whatever, it’s just a scenario in which everyone is really, really emotionally invested.

And before anyone starts up with the “these sorts of action-movie shenanigans are only reasonable with incredibly high stakes” argument, let me remind you that by the time they need this proposed intervention, we have already hit patently unreasonable situations and behavior.  Like, these are not reasonable people who are just in it for a boatload of money and somehow fell ass-backwards into a Bond villain scheme for making it.  They didn’t join the rotary club and oops their way into a series of flamboyantly homicidal consultation gigs.

If we can buy somebody going completely balls-to-the-wall, conspiracy-of-thousands, weirdo-cult-aesthetics, murdered-my-own-parents all-in on *checks notes* basically being the CEO of a slightly more criminal than usual international conglomerate that required precisely none of that? If we can buy the iron-jawed goons fist-fighting a guy who’s essentially at this point the goddamned terminator for a generous hourly wage?

Then I think we can buy a weirdo-cult-aesthetics conspiracy-of-thousands megalomaniac who just really, really likes that goddamn dog, or hates the protagonist, or wants to share the daguerreotype of Abraham Lincoln’s penis with the world as the Great Emancipator would have wanted, and the shadowy government-bankrolled action-hero forces driven by fate to stand in their way.

It’s not any less reasonable, anyway, and then when the next movie comes out you can go back to saving New York City from a nuke or Paris from a weather-control device or whatever and no one will be like "well this is a step down from the pageantry of the previous installment.”

I should add that there’s no reason the Settle Down There, Edgelord Rule can’t be applied to any sort of serial media.

Your doom-and-gloom tv show just keeps fighting worse and worse villains every single season?  Why not take a break next season and fight a homeowner’s association instead of an artistic serial killer?  Go on a hard-fought, poorly-lit, grim-and-gritty slog through the byzantine process of figuring out which impound lot the Impala got towed to after a bullshit parking ticket. 

Instead of having your teenage characters grapple with Even Worse Demons, they can just, like, egg their principal’s house when it turns out he’s a normal human-level petty tyrant and not a master vampire.  Your nemesis figured out your secret identity, and instead of trying to kill your family or whatever, they hacked your facebook account and friended all your obnoxious relatives/coworkers/friends-of-friends and are embarrassing you in public, and now you have to go on a ridiculously convoluted and dystopian spirit quest to get The Zuck Himself to reset your password.

The possibilities are endless!  Unless you keep ratcheting things up, anyway, in which case you’re eventually and inevitably going to wind up fighting Satan, then God, then Worse God, then Satan’s Dad, Which Is Somehow Not God? Don’t @ Us, Our Mythological Research Prior to Writing This Was Confined to Metal Albums and American Horror Films.

[rollerwavegallery]

THX 1138 (1971)

“What’s wrong?”

This is the famous opening line of George Lucas’ masterpiece, THX 1138- an indication that we are witness to a world that is WRONG, so far beyond repair and so far gone that it bears virtually no resemblance to our own. 

The world of THX 1138 is perhaps the most bleak depiction of the future ever created. Unlike other dystopian scenarios in film, it is not the result of any structure which seeks to abuse power- rather, its environment is merely the result of the progression of time. THX is set in a place where humanity is fundamentally broken, has forgotten how to perform even the most basic task, and does not keep adequate sociological records.

Anyone who appreciates and respects George Lucas’ talents as a director knows of the captivating power of THX 1138, which is arguably even better than Star Wars. Indeed, in it we see many of the elements which later defined Star Wars- the robotic officers being similar to Stormtroopers, the line-refracted holograms THX views in his apartment being similar to the projection of Leia which pops out of R2D2 and the chess set aboard the Millennium Falcon, the sleek polished hallways calling to mind the interior of a Star Destroyer.

Of course, THX is a much less commercially appealing property than Star Wars, which explains why prior to Star Wars’ release in 1977, Lucas was only billed as the creator of the mildly successful film ”American Graffiti”. Overlooking THX is a mistake. It is a spectacular science fiction film, one of the greatest in scope ever conceived, and to think that it is George Lucas’ first film, and predates Star Wars by 6 years, only speaks to just how revolutionary the Lucas is in terms of storytelling and vision. 

The film follows three characters- THX, played by Robert Duvall, LUH, played by Maggie McOmie, and SEN, played by Donald Pleasance in one of his best roles. THX is a man who fears illness at the hands of his society, undergoes physical and mental trauma of which we can barely conceive, and in the end escapes his prison through sheer willpower. It is stated near the end that his society is concerned with the cost of his capture more than his capture itself, as his pursuit is abruptly terminated once the effort to bring him in runs over budget. Such are the intricacies of the bureaucracy which THX finds himself in. 

LUH’s fate is left ambiguous, as many things about her are ambiguous- such as the inner feelings between her and THX, which can only be known by them. Their relationship is one of the strongest chemistries ever witnessed onscreen, and McOmie’s expressions in the opening scene, wherein she witnesses the results of an untimely radiation accident, are excellent. 

SEN is the film’s most nuanced character in my opinion, more communicative than THX yet blinded by a lack of real desire to escape the system, despite his declarations in the prison scene that action is required. In one of the most captivating scenes, he and THX open the door which leads out of the prison, only to find a hallway with millions of swarming people- and confronted by the logistics of the masses, SEN is shocked into a state of horror. He is greeted by the abrupt state of conformity after a long period of isolation, which drives him down a path which ends with him as a shell of his former self, not even attempting to hide from the city’s surveillance cameras, being apprehended by officers and returned to prison. So it goes. 

Yet another element which adds to THX’s reputation as a tour de force is, of course, Lalo Schifrin’s masterful soundtrack. It is, like the film, decades ahead of its time, electronic and unsettling in equal measure, with smooth jazz interludes and dark ambient echoes. It tells the story of the film sonically, and is an influential piece in modern Rollerwave. It was notably sampled by Dan Frost on his debut album, “To Every Man,” on the single “scotchGARD”. The song also samples dialogue from Taxi Driver, which is fitting, given Taxi Driver’s similar themes of alienation in contemporary society. 

If there is one downside to THX, it is the director’s cut, which adds in unnecessary CGI which ultimately causes the film to feel dated- not dated by 1970s standards, but rather dated by the standards of 2004 when the CGI portions were added. It is the version you will likely find on any streaming service, so I recommend finding a copy of THX released on VHS prior to 2004. In its uncut, original version, it is nothing short of a masterpiece. 

The CGI shots Lucas added in the 2004 director’s cut are puzzling in that they add nothing to the narrative, and are jarring when compared to the wonderful practical effects of the 1970s. A rat which scares Donald Pleasance in the original cut is needlessly replaced with a strange scorpion creature. Highways are added to the city which make it feel more like the wonderful metropolis of Coruscant than an empty cavern. Most notably, THX’s work with radioactive metal is given the CGI treatment- and it looks abysmal. 

While it can be argued that CGI works well in the Star Wars prequels, given their nature as grand works of science fantasy where anything is possible, it is thematically incompatible with THX 1138, which is aside from the CGI edits extremely grounded and bleak. These cartoony editions feel like a completely separate movie, they are jarring and speak to an older, more cynical George Lucas who was emboldened by the potential of CGI as a new technology and felt the need to go back and touch up what he saw as a flawed film- even though it is in fact perfect in its original state. Any fans of Rollerwave as an aesthetic should avoid the director’s cut at all costs, as it subtracts from the marvelous 1970s aesthetic. 

This is particularly notable in the needless addition of CGI “shell dwellers” in the final portion of the movie, who don’t even look remotely like the shell dweller seen earlier during the prison scene, and whose mere presence subtracts from THX’s chase from the officers. In short, they ruin the conflict. This is a shame, given that THX’s final chase scene is fantastic and displays what can be achieved using practical effects and a vast underground tunnel. 

THX is unfathomably influential to modern science fiction, and unlike Rollerball or Death Race 2000, does not feel dated, despite its obvious 1970s appearance. This can be credited in part due to extremely well-honed performances by a cast who know exactly what they’re doing, and in part to Lucas’ behavior as a director. Every shot is perfectly calculated to achieve the ultimate atmospheric effect, up to and including the satiric clip of Buck Rogers which plays prior to the film proper. Its utopian vision exists in stark contrast with the morbid reality of THX’s world, and also communicates Lucas’ noted fascination with old film serials, which is palpable in Indiana Jones and, of course, Star Wars. 

It’s required viewing for any dedicated fan of Rollerwave as an aesthetic. Each shot oozes with technical prowess, from the gorgeous shopping mall-esque interior of the City’s commerce center to the vast maze of computer servers THX navigates while being relentlessly pursued by his captors. THX is one of the best visions of the future the 1970s has to offer, along with Alien, albeit initiating the decade rather than capping it off. 

More than simply being one of the first examples of Rollerwave in film, and one of the best, however, it is a great science-fiction film which sets itself apart from the crowd, stands on its own, and should be viewed by anyone who considers themselves connoisseurs of science-fiction. 

[brokehorrorfan]

Interview: James DeMonaco (The Purge franchise)

James DeMonaco thought he had purged himself from The Purge. Having written and directed the first three entries in the hit dystopian action-horror franchise then writing and producing two more sequels and a TV series, he publicly declared that The Forever Purge - released in theaters in July and on home video last week - would be the final installment. "I say it's my last Purge at the end of every one, so I feel like a fool saying there's going to be another one, but I definitely thought [The Forever Purge] was it. I can't lie. That was it for me. I thought I ended America appropriately."

It was the United State Capitol insurrection on January 6 that sparked an idea for a sixth entry. "The country felt like it was coming apart at the seams, and I think the sociopolitical discord fueled something in a nightmare of mine. I woke up with this idea, and I pitched it to Sébastien Lemercier, my producer, then Jason Blum, the other producer. I don't know if they were ready for another Purge, but they liked it. We pitched it to the studio, and they liked it, so I was given the green light to write it.”

The script brings back Frank Grillo's character of Leo Barnes, who was introduced in The Purge: Anarchy and returned in The Purge: Election Year. "I said, ‘If I do another one, I’d like to do it with Frank Grillo.' People loved him, and I love working with Frank." The script is complete but production is uncertain at the moment. "I’m guessing the studio is evaluating the COVID release of [The Forever Purge], so we’ll know soon I guess... I’m hoping we get to do it. I can’t give any definitives other than it’s written and Frank’s excited to do it."

As for the plot of the proposed seventh installment, "It takes place 10 years after The Forever Purge. America has been completely remapped. The states are much different and how they’re broken down is much different, without giving too much away, but there’s a tribalized nature to the new America. [Leo] is living kind of off the grid, but he’s pulled back into the Purge world that still exists in some way, shape, or form."

Truth be told, DeMonaco never expected The Purge to become a franchise. "I didn’t see it going past one [movie]. When we had the script, I think we counted 37 financing entities that had read the script and almost all said the same thing: ‘It’s too anti-American. It’s too nihilistic.’ We really thought if we did get it made, it was going to be a small Michael Haneke film, something like Funny Games, that would play at arthouse theaters and wouldn’t have a wide release."

It was horror producer extraordinaire Jason Blum - who had optioned scripts from DeMonaco when he was an executive at Miramax earlier in his career - that recognized the possibilities of The Purge. "We didn’t see the scope of the potential release until Jason [Blum]. He read it, and he saw something in the conceit that I don’t think I saw; the bigger potential of it. We had no idea I’d be here five movies and two seasons of a TV show later. It’s been a strange ride!"

DeMonaco stepped down as director after three installments of The Purge, but he was eager to guide the franchise as writer-producer. "I was ready to move to something new. I had been Purge-ing for many years in a row. It’s a dark world to live in. I still wanted to shepherd the story. I was always afraid, if it went into someone else’s hands, it potentially could become something I didn’t want it to be. Maybe it could be even better than what I would do, but it also could be something more exploitative in a way that I didn’t want it to go."

DeMonaco found filmmakers he could trust to hand over the reins, but he's eager to return to the director's chair if the next chapter comes to fruition. "When we found Gerard [McMurray], I felt like we were in great hands [on The First Purge]. He understood the sociopolitical nature of the piece. It’s what he loved even more than the genre elements. He felt like the right guy to take over, as did Everardo [Gout] on Part 5. But for 6, I was excited to direct again when I came up with this conceit, so I do believe there’s a chance, if Frank came back, we could re-team and do it together.

Any successful, long-running franchise - particularly one as politically-charged as The Purge - is bound to have its critics, and DeMonaco takes it all in stride. “To my detractors I often say, ‘The Purge is not a subtle film.’ There’s no subtlety at all. I’m hitting people over the head with a sledgehammer with my thoughts on the current political climate in the country. I think some people think it’s too political, and I get that. They don’t want to be preached and proselytized to. Some people love it for those exact reasons. My favorite movies are usually in the 50 percentile on Rotten Tomatoes. They’re gonna piss a lot of people off, and they’re gonna make some people really happy. I think sometimes you have to be bold in what you’re doing. For the people who hate it, that’s their right to hate!” he chuckles.

DeMonaco challenges himself to make every entry in The Purge series unique. "I really take a lot of time to make sure each one is very different than the previous, so even if you’ve seen the first four, we have a mandate between us to say, ‘Let’s not repeat ourselves. Let’s really try to flip it on its head.’ I think [The Forever Purge] feels new. Even the visual palette of the film is new. It takes place in a new territory, a new terrain; it’s not back in an inner city. It takes The Purge to a new level that we haven’t seen before, and I think the characters are wonderful. These are people you truly come to care about, and you want to go on the journey with them. It’s not a rehash that I’ve seen in some franchises. It’s very hard to keep doing new things, but I think it’ll feel fresh."

The Forever Purge's original release date was delayed due to the pandemic, and then it became one of the first wide releases once vaccines were rolled out. "We still don’t exactly know how to process if it’s good or bad financially. It’s hard to know, to be honest. I’m not privy to the backdoor meetings with the adults regarding the financials," he smirks. "But they’re great partners, so I hope they’re happy. I know it was a weird time. A Quiet Place [Part II] came out of the box so big that we all thought, ‘Hey, we’re back!’ But I didn’t know anybody at the time that was going back to the movies. It was a monstrous opening, yet I didn’t know one person who saw it in the theater. It’s still confusing as to what the future of the box office is."

"My biggest fear is that the box office doesn’t return, because I think we can’t replicate inside a movie theater. It’s a scary time." The impact of the theatrical experience is the centerpiece of DeMonaco's latest film, This Is the Night. It reunites the writer-director with Grillo and Blum, but it plays like an antithesis to their work on The Purge. “I think it was something I needed to do,” DeMonaco explains. “Movies have been my guiding force in life. My religion was cinema, and it’s been my passion. I always wanted to make a movie about that love of cinema and what it can inspire. It was wonderful to do after the first three Purges.”

Set in Staten Island during the summer of 1982, the coming-of-age story serves as DeMonaco’s love letter to cinema. "It’s about Rocky III - or any movie, which is why I don’t show any of Rocky III during the screening - that can inspire people to rise up and be better people. It’s about the power of art. It was great to make. I think it’s a very sweet, good-feeling film. I think I needed that myself after making The Purge.”

DeMonaco is currently developing a new horror movie starring Saturday Night Live favorite Pete Davidson. "We’re friends, we live close together. He was a big Purge fan, so we hit it off through a mutual friend." While he's elusive regarding plot details, he does offer a few hints. "I can’t really say it’s contained. It takes place in one place but a big place, so it’s not Purge-size. It’s bigger than that; a facility of some sort."

On working with Davidson, DeMonaco notes, "Big Time Adolescence is a great performance, so is The King of Staten Island, but there’s some humor in those films. There’s almost zero humor in the one we’re doing together. I think that’s exciting for me working with Pete, in that he’s going in a very new direction. This one is much more straightforward for his character." He enthuses, "I’m psyched to work with Pete. I can’t wait."

[themovieblogonline]

Civil War Review: Alex Garland's Heartwrenching War Masterpiece

When you go to the theatre to see a brand new Alex Garland movie, you know that it's not going to be a conventional movie by any means. Even his most accessible movie in my opinion - Ex Machina - is still an absolutely enthralling and bizarre dive into science fiction. The same can also be said about his follow-up film Annihilation. And although I know that a lot of people out there loathe Men with a passion, I personally think it's an excellent horror film that never fails to get under my skin, even if it's maybe not as good as it was the first time I saw it. https://www.youtube.com/watch?v=aDyQxtg0V2w Although I was familiarized with Garland's filmography before seeing his latest film Civil War, nothing could've truly prepared me for the emotionally taxing and genuinely depressing journey the movie was going to take me on. It's the kind of movie that, as soon as the credits are finished rolling, you feel absolutely disgusted to your core but you also recognize that the film that you just watched is a total work-of-art. Truth be told, Civil War will be a difficult movie to rewatch because of its imagery and subject matter. But it's also one of the best movies of the year, and one of the best war movies ever made. It stands out as a profound commentary on the fabric of American society. Additionally, it delves into politics through the lens of a dystopian war drama. Set in a future America where divisions have escalated into a full-blown Second Civil War, the film intricately explores themes of loyalty, ideology, and the price of freedom through the journey of a team of journalists navigating the ravaged landscape. With a cast led by Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno, and Nick Offerman, the film delivers a powerfully resonant narrative that captivates from start to finish. Garland's screenplay weaves a harrowing tale that, while dystopian, feels uncomfortably possible. It paints a grim picture of a nation torn asunder by its own contradictions. Kirsten Dunst's portrayal of Lee Smith, a photojournalist caught between her duty to report the truth, is particularly compelling. Her character's resilience and determination, juxtaposed with her vulnerabilities, make for a nuanced performance that anchors the film. Wagner Moura's Joel serves as a fitting counterpart, blending cynicism with an unexpected depth of emotion. The young Cailee Spaeny, as the aspirational Jessie, represents the heart of the film. Through her eyes, we witness the transformation from naivety to the stark realization of war's brutalities. One can only hope that Spaeny continues to receive incredible roles. Honestly, I'd go as far as to say that she deserves an Oscar for this performance. Stephen McKinley Henderson’s portrayal of the wise yet fatalistic Sammy offers a masterclass in supporting roles. He leaves an indelible mark despite limited screen time. Meanwhile, Nick Offerman's casting as the President—serving an unprecedented third term—was an inspired choice. Offerman channels an unsettling blend of charisma and menace, making the dictator all the more believable and chilling. Garland’s direction is meticulous, crafting scenes of urban warfare and quieter moments of introspection with equal care. His choice to showcase the stark contrast between the chaos of the battlefield and the eerie normalcy found in pockets of the war-torn nation underscores the absurdity and tragedy of civil conflict. The pacing of the film, coupled with its haunting score and visually arresting cinematography, builds a crescendo. It will leave viewers on the edge of their seats. Particularly noteworthy are the action sequences in Charlottesville, Virginia, and the heart-pounding ending. Both of which showcase Garland’s ability to handle large-scale set pieces without losing focus on the human element. The film's commentary on journalism is another layer that adds depth to the narrative. Lee and her team's ethical dilemmas challenge the audience to consider media's role in shaping perceptions of war. The bold narrative choice forces the audience to confront the moral ambiguity of vengeance and justice in times of war. It shows Garland's exploration of human darkness and revolutionary complexities. The final image of the film is a chilling reminder of the cycle of violence. Overall: Civil War is a masterful addition to the genre of dystopian war films. It offers a riveting, albeit bleak, vision of America's future that resonates with the current global political climate. With standout performances, particularly from Dunst and Moura, and Garland's expert direction, the film achieves a rare balance of thrilling entertainment and thoughtful commentary. Read the full article

[jj-lynn21]

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The Hollywood Reporter BOY KILLS WORL

Bill Skarsgård, Samara Weaving and Yayan Ruhian to Star in Action Thriller ‘Boy Kills World’ Sam Raimi and Roy Lee are producing the unique graphic novel-inspired fantasy from director Moritz Mohr.Borys Kit OCTOBER 7, 2021 8:26AM PDT 📷📷 GETTY Bill Skarsgard, Samara Weaving and Yayan RuhianBill Skarsgård, Samara Weaving and Yayan Ruhian will topline Boy Kills World, a revenge action fantasy film produced by Sam Raimi and Roy Lee.First-time feature director Moritz Mohr is helming the project, which is being financed by Simon Swart and Wayne Fitzjohn of Nthibah Pictures (Redeeming Love) and Alex Lebovici of Hammerstone Studios (Bill and Ted Face the Music).Per the producers, who announced the project Thursday, World is described as “a one-of-a-kind action spectacle set in a dystopian fever dream reality. Boy is a deaf-mute with a vibrant imagination. When his family is murdered, Boy escapes to the jungle and is trained by a mysterious shaman to repress his childish imagination and become an instrument of death.” Related Stories 📷📷 Movie NewsSam Raimi Nearly Turned Down 'Doctor Strange 2' Over Lingering Scars From 'Spider-Man 3' Skarsgård will play Boy, with Ruhian as the shaman who mentors him. Weaving will play an assassin named June 27. Popular on THR German-born Mohr attended UCLA’s film program before launching a commercial directing career. He created a Boy Kills World short in 2018 and made a previsualization reel for a feature version that caught the eye of Raimi and Lee.Mohr and Arend Remmers came up with the story, with Remmers and Tyler Burton Smith (Kung Fury: The Movie) penning the script.CAA Media Finance will represent domestic rights and also arranged financing. Zainab Azizi of Raimi Productions, Stuart Manashil of Novo, Dan Kagan and Andrew Childs of Vertigo Entertainment are producing in addition to Raimi and Lee.Production is due to take place in early 2022 in South Africa.“Boy Kills World is set in a distinct dystopian world, combining real-world themes with a stylized look that is fresh, cool and original, borrowing from the best of graphic novels,” said Nthibah Pictures CEO Simon Swart in a statement. “With a script that combines wild innovative action sequences, a sense of humor and a lot of crazy, this film has the potential to be a worldwide hit and potential franchise property.” Skarsgård is best known for his scare work as Pennywise in the It movies, on which Lee was a producer. He is coming off of working on John Wick 4.Weaving broke out with a starring turn in the horror movie Ready or Not and is currently shooting Damien Chazelle’s period drama Babylon with Brad Pitt and Margot Robbie.Ruhian is the martial arts actor who broke out to American audiences with the bone-breaking The Raid movies and appeared in John Wick: Chapter 3 – Parabellum.Skarsgård is repped by WME and Magnolia. Weaving is repped by WME, while Ruhian is repped by Management 360 and Intan Melvina. Mohr is repped by CAA and Novo.

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