#julie oliver touchstone

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The Dark and the Wicked (2020)

[moviereviews101web]

The Dark and the Wicked (2020) Movie Review

The Dark and the Wicked – Movie Review ABC Film Challenge – Horror – X (Xander Berkeley) Director: Bryan Bertino Writer: Bryan Bertino (Screenplay) Cast Marin Ireland (Hell or High Water) Michael Abbott Jr (Killers of the Flower Moon) Tom Nowicki (Remember the Titans) Xander Berkeley (Candyman) Julie Oliver-Touchstone (Twisted Metal) Plot: On a secluded farm in a nondescript rural town,…

[back-and-totheleft]

Debunking manhood

A blatant deconstruction of American iconography, Born on the Fourth of July operates more elegantly as a repudiation of masculinity. The movie asks what it really means to be an American, but it’s also asking—with unexpected rawness and vulnerability, given that the director is Oliver Stone—what it means to be a man.

Based on the autobiography of Vietnam veteran Ron Kovic, who shared co-screenwriting credit (and an Oscar nomination) with Stone, Born on the Fourth of July tells the tale of an eager recruit who jumps at the chance to fight, comes home paralyzed, and after deprogramming by misery becomes a leading voice for veterans against the war. It’s one man’s political disillusionment, depicted with the aggressive intent of creating disillusionment in us all.

Stone employs his bludgeoning tactics right from the opening credits, depicting a Fourth of July parade in the late 1950s in garish slow motion, with saturated colors and ghoulish grins. It’s like a Norman Rockwell painting in which everything, including the hue, is a bit off. Most of the rest of the movie is equally in your face: Ron’s tortured bedroom prayer before leaving for bootcamp; the atrocities he witnesses (and is a part of) in Vietnam; and the political screaming matches he has with his mother upon returning home.

Going on in the background, however, is a more nuanced exploration of what was considered “manly” in mid-century America—and what it might have been like to have this manliness taken away. Even before he’s sent to war, Ron (Tom Cruise) has been indoctrinated to believe that manhood comprises four elemental things: physicality, violence, victory, and the admiration of women. While Stone uses a megaphone to communicate his movie’s political theme, he’s less obvious about evoking these four touchstones. We instead understand them through the background details and incidental scenes. Ron is an athlete (there’s the physicality) in a sport that emphasizes violence (“I want you to kill!” his wrestling coach screams during practice). Victory is prized above all (when Ron loses a match, he’s devastated), while the admiration of women is intertwined with all of these things. In the two instances Ron notices a girl watching him, he happens to be playing sports.

To join the military and win a war is, then, a way to achieve each of these benchmarks and thereby become a man. When a Marine recruiter (Tom Berenger) arrives at Ron’s school, he puts it in precisely these terms: “You find out if you really are men.” Ron goes to Vietnam expecting to confirm his manhood, but instead he has it taken away.

Consider, after all, how each of those four qualities are diminished by his paralysis. Physicality is severely limited, a given fact that nevertheless punches us in the gut for the subtle way Stone emphasizes it. When Ron comes home, his father (Raymond J. Barry) tries to give him a cheery tour of all the ways he’s modified the rooms so that Ron will be comfortable. But he eventually just crumples over into his son’s chair for a silent, helpless hug. Another quietly incredible moment between these two takes place after a drunken Ron rips out his catheter in a tirade. Later, as Ron is passing out in his bed, his father reattaches the tubing, a gesture Stone films in discreet silhouette.

If Ron’s physicality is diminished, so is his capacity for violence, something that’s clear when he futilely tries to start a bar fight from his wheelchair. His inability to capture the attention of women is emphasized by a dreary odyssey to a debauched community of veterans in Mexico, where brothels offer willing women of all kinds—as long as you pay. As for winning, that last defining element of manhood, what could Ron win now? Even when he’s the wounded guest of honor at a Fourth of July parade (distinctly filmed in dingier tones than the opening parade sequence), he’s not celebrated as a military victor, but bum-rushed by hippies protesting the war.

Seeing Born on the Fourth of July as a tale of American masculinity undone also might explain why Stone chose Tom Cruise (beyond the fact that he was the world’s biggest movie star at the time, just a few years away from his own piece of propagandistic American iconography, Top Gun). Cruise has always been, first and foremost, a physical actor, as famous for his smile as for the way he runs (like a bullet in search of a Kevlar vest). It’s a double shock, then, to not only see a young man stripped of his physicality, but to see it happen to the unstoppable Tom Cruise. He was probably nominated for the Oscar for one of those screaming matches with Caroline Kava as Kovic’s mother, but I prefer to think that it was for the scene in which Kovic, having been told he’ll never walk again, insists on doing daily physical therapy. Hanging limply from crutches, he insists he’s making progress, but it’s clear he’s only become better at dragging his dead legs. That’s a Tom Cruise moment if I’ve ever seen one.

If Born on the Fourth of July essentially spends much of its running time debunking mid-century America’s idea of manhood, does the movie offer an alternative vision as a counter? I’m not sure. The final sections focus on Ron as an anti-war activist, involved in protests that get physical and are geared to win. Yet there’s a different tenor to the movie’s depiction of Ron here (as well as Cruise’s portrayal). There is a new openness and humility, both physical and emotional, as in the confession he shares with the family of a fellow soldier who was killed in friendly fire under his command. In a sense, Ron has become weak. In a sense, he’s admitting that he lost. Yet Born on the Fourth of July also suggests that in losing his manhood, Ron Kovic gained his humanity.

-Josh Larsen, Larsen on Film [x]

[saturdaynightmatinee]

CALIFICACIÓN PERSONAL: 7 / 10

Título Original: The Dark and the Wicked

Año: 2020

Duración: 94 min.

País: Estados Unidos  

Dirección:  Bryan Bertino

Guion: Bryan Bertino

Música: Tom Schraeder

Fotografía: Tristan Nyby

Reparto: Marin Ireland, Michael Abbott Jr., Xander Berkeley, Lynn Andrews, Julie Oliver-Touchstone, Tom Nowicki, Ella Ballentine, Mel Cowan, Mindy Raymond, Chris Doubek, Michael Zagst

Productora:  The Travelling Picture Show Company, Unbroken Pictures, Shotgun Shack Pictures, Inwood Road Films

Género: Horror

https://www.imdb.com/title/tt10229558/

TRAILER:

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Horror

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The Dark and the Wicked (Bryan Bertino, 2020)

[addictivecontradiction]

The dark and the wicked, 2020

[brody75]

The Dark and the Wicked (2020)

[sesiondemadrugada]

The Dark and the Wicked (Bryan Bertino, 2020).

[davidosu87]

[ponapisach]

Intrygujący jest już sam koncept. W domu, na amerykańskiej wsi umiera mężczyzna. Jego czas nadszedł, bo dobija, jak widzimy, do sędziwego wieku. Mieszka z żoną, która od dłuższego czasu opiekuje się nim sama. W ostatnich dniach życia mężczyzny przyjeżdżają syn z córką. Oddalili się od rodziny, każde z nich poszło swoją drogą. A jednak czuli, że muszą być razem i pomóc matce w tych dniach. Ta jednak wyraźnie nie życzy sobie ich wizyty. "Prosiłam, żebyście nie przyjeżdżali" - mówi. Ale wiecie jak jest, to w końcu matka i ojciec stojący nad grobem. Wypada tu być. Gdy życie zaczyna gasnąć, w domu zaczynają dziać się dziwne rzeczy. Im bliżej godziny śmierci, tym większym mrokiem zachodzi domostwo. Ktoś stoi w cieniu, ktoś mignie za oknem.

Wprawdzie wciąż nie widziałem drugiego i trzeciego filmu w karierze Bryana Bertino ("Mockingbird" i "The Monster"), ale jestem za to wielkim fanem jego pełnometrażowego debiutu, "Nieznajomi". To wciąż (dla mnie) jeden z bardziej przerażających horrorów XXI wieku, home invasion doskonałe, pełne grozy i surowe w swoim okrucieństwie. Wiązało się z moim osobistym strachem o bezpieczeństwo domu i domowników i być może seans gdzieś tam zdecydował o tym, że odpuściłem plany kupna wielkiej posiadłości na przedmieściach. Bryan Bertino konsekwentnie idzie gatunkową ścieżką i opowiada mrożące krew w żyłach historie. Jego najnowszy film "The Dark and the Wicked" to horror z akcją rozgrywającą się w klimatach southern gothic z motywami jakby zaczerpniętymi z "The Hereditary" Ari Astera, ale przy atmosferze (tempie, estetyce i ilustracjach muzycznych) z "The Witch" Roberta Eggersa. To horror, który zmusza do zastanowienia się nad prawdziwym przekazem utworu. Chociaż prezentuje kilka szokujących i mocnych obrazków, które przez użycie efektów praktycznych potrafią wybić widza (nawet doświadczonego) ze strefy komfortu, to Bertino cały cały czas namawia nas byśmy jednak postarali się poszukać drugiego dna. 

Dlaczego? Te uwarunkowania wynikają z reguł przyjętych przez reżysera, a "The Dark and the Wicked" do samego końca jest mroczny i prezentuje zło wybijające rytm z niesłabnącą werwą i zaangażowaniem. Pesymizm wynika z drogi wytyczonej przez scenarzystów, a dotyczy tematu, w którym istotą jest starcie religijności z ateistycznym wychowaniem. Mam bowiem wrażenie, że drzemiące zło w tym domu, u boku gasnącego życia pojawiło się wraz z religią, która przyszła na ostatniej prostej. Otóż przy rodzinie (starszyźnie), która nigdy nie wierzyła nagle pojawia się ksiądz, matka w kieszeni ma kilka drewnianych krzyżyków ("nigdy nie wierzyła w takie rzeczy"), przy łóżku pojawia się świeca z matką boską. Te religijne atrybuty świadczą być może o zwracaniu się ludzi starszych pod anielskie skrzydła w nadziei zastania lepszych warunków po śmierci. To częste nawracanie się jest niejako normą i nie mi to oceniać, bo w chwili śmierci człowiek chwyta się różnych rzeczy. Ale to wpuszczanie religii wiąże się, jak stara się przekazać twórca, z wpuszczaniem również sił nieczystych (jedno współistnieje z drugim). I o tym właśnie jest ten niepokojący od początku do końca film. O wilku w owczej skórze, bo zapraszając dobro, licz się z całym jego złowrogim zapleczem. Polecam, choć to seans dla cierpliwych.

[bunnyfangs]

teen jesse custer and gran’ma marie!!!!

[demifiendrsa]

Vinland Saga Official Dub Trailer

Dub clip #1

Dub Clip #2

Sentai Filmworks English Dub cast

Jason Douglas as Thors

David Wald as Askeladd

Mike Haimoto as Thorfinn

Shannon Emerick as Young Thorfinn

Joe Daniels as Thorkell

John Swasey as Leif

Josh Grelle as Prince Canute

Luis Galindo as King Sweyn

Andrew Love as Bjorn

Rob Mungle as Ragnar

Jay Hickman as Floki

Ty Mahany as Atli

Orlanders Tao Jones as Torgrim

Kyle Colby Jones as Willibald

John Gremillion as The Ear, Halfdan

Chris Rager as Gratianus

Josh Morrison as Asser

Blake Weir as Asgier

Olivia Swasey as Ylva

Patricia Duran as Helga

Greg Cote as Jabbathe

Jim Johnson as Interpreter

Chris Hutchison as Gorm

Alexis Tipton as Hordaland, Faxi

Jeremy Gee as Gunnar

Jessica Boone as Anne

Kregg Dailey as Father

Julie Oliver-Touchstone as Mother

Luci Christian as Sister

Sean Patrick Judge as Olaf

Joanne Bonasso as Lydia

Tyler Galindo as Ari

Antonio Lasanta as Mord

Chelsea McCurdy as Snorre

Gareth West as Magni

Ry McKeand as Hakon

Nathan Wilson as Grim

Michael Wronski as Mols

Marty Fleck as Narrator

[ljaesch]

English Cast Announced for the Princess Principal Crown Handler Part 1 Anime Film

English Cast Announced for the Princess Principal Crown Handler Part 1 Anime Film

The English cast has been announced for the Princess Principal Crown Handler Part 1 anime film: Avery Smithhart is Ange Patricia Duran is Princess Elizabeth Bunch is Dorothy Shanae’a Moore is Beatrice Rachael Messer is Chise Sean Patrick Judge is Grand Chamberlain Jay Hickman is Duke of Normandy Melanie Burke is Gazelle James Belcher is Francis Julie Oliver-Touchstone is The Queen David Wald is…

[kamosuya]

The Dark and the Wicked -2020- 𝐓𝐡𝐞 𝐃𝐚𝐫𝐤 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐖𝐢𝐜𝐤𝐞𝐝 -𝟐𝟎𝟐𝟎- . 𝐒𝐭𝐨𝐫𝐲𝐥𝐢𝐧𝐞 : The Dark and The Wicked follows two siblings who are summoned back to the family farm to await the inevitability of their father's death. What initially appears to be a timeless ritual of loss and remembrance turns out to be something very different. . 𝐖𝐚𝐭𝐜𝐡 𝐍𝐨𝐰 𝐅𝐮𝐥𝐥 𝐌𝐨𝐯𝐢𝐞 ⬇️      ⬇️      ⬇️      ⬇️ . 🎬 𝐖𝐚𝐭𝐜𝐡 𝐍𝐨𝐰 𝐅𝐮𝐥𝐥 𝐌𝐨𝐯𝐢𝐞 : https://bit.ly/34EtXhu . ⬆️      ⬆️      ⬆️      ⬆️ . 🗓️ Release Date : Oct 29, 2020 ⏰ Runtime : 95 minutes 📂 Genres : Horror 💼 Production Company  : Travelling Picture Show Company, Unbroken Pictures, Shotgun Shack Pictures, Inwood Road Films 🌎 Production Countries  : United States of America 👨‍👩‍👧‍👦 Casts : Marin Ireland, Michael Abbott Jr., Xander Berkeley, Lynn Andrews, Julie Oliver-Touchstone, Tom Nowicki, Ella Ballentine, Michael Zagst . #singapore #malaysia #brunei #indonesia #sg #jakarta #hongkong #igsg #thailand #sgig #dubai #usa #kualalumpur #travel #bali #australia #bandung #love #sgunited #taiwan #covid #stayhome #medan #surabaya #fashion #photography #japan #johor #instagood #bhfyp

[fathersonholygore]

[Fantasia 2020] Nothing Can Save You in THE DARK & THE WICKED

[Fantasia 2020] Nothing Can Save You in THE DARK & THE WICKED

The Dark and the Wicked. 2020. Directed & Written by Bryan Bertino. Starring Marin Ireland, Michael Abbott Jr., Xander Berkeley, Lynn Andrews, Julie Oliver-Touchstone, Tom Nowicki, & Michael Zagst.

Shotgun Shack Pictures / Unbroken Pictures / Traveling Picture Show Company

Not Rated / 95 minutes Horror

★★★★

DISCLAIMER: The following…