FALL
What could possibly go wrong attempting to traverse a rusty 2000-foot tower in the middle of nowhere? Only everything. In Scott Mann‘s FALL, Becky is a year out from watching her husband plummet from a climbing mishap before her very eyes. Mired in grief, best friend and climbing partner Hunter convinces her to do the unthinkable to heal. The two plan on climbing the 4th tallest structure in the US while Hunter films it for her budding YouTube channel. One loose screw at a time, and the entire plan goes to hell. FALL will take your breath away.
The seemingly simple premise becomes one of the most intense and harrowing films I’ve ever seen. I didn’t have a fear of heights before Fall. I sure as hell do now. Every second of this film is a goddamn horror. If there was a moment’s lull, I was waiting for the other shoe to drop. (No pun intended.) My heart was in my throat. I was sweating uncontrollably. I went weak in the knees over and over again. FALL is a nonstop cinematic panic attack.
The screenplay by Mann and Jonathan Frank does an impeccable job of wrapping the action in grief, unresolved trauma, forgiveness, and authenticity. The relationship between Becky and Hunter feels like a level playing field until secrets cause additional emotional conflict. It’s a carefully crafted script, many of its moments foreshadowed in the earlier dialogue. Virginia Gardner, who was spectacular in Starfish, plays Hunter with fearless energy. She’s the perfect foil for Grace Caroline Currey. As Becky, she sits in an entirely different headspace. Gardner and Currey’s chemistry is key to the film’s believability.
The sometimes sparse, menacing score by Tim Despic combined with Alex Joseph and David Barber‘s sharply executed sound editing ramps up the inevitable impending doom we came to experience. The cinematography by MacGregor is a wonder. The juxtaposition of tight close-ups and wide landscape shots fills you with fear, placing you inside the bodies of Becky and Hunter. I cannot stress this enough, FALL deserves a viewing on the widest and tallest screen possible, but even on a laptop, the terror is paralyzing. FALL will take your breath away. Hold on tight.
Lionsgate’s FALL will open on 1200+ screens across the country on Friday, August 12.
This includes all key regional cities including: New York, Los Angeles, Chicago, Philadelphia, Dallas, San Francisco, Washington DC, Houston, Austin, Boston, Atlanta, Phoenix, Detroit, Seattle, Minneapolis, Miami, Denver, Orlando, Tampa, Cleveland, Salt Lake City, Sacramento and more.
Find a theater near you: https://fandan.co/3cYz8zu
OFFICIAL SITE: http://www.lionsgate.
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David Leitch’s Bullet Train is not high art, but it’s a damn fine way to spend 126 minutes. There are times in life when you might order a side salad with your meal, but we all know what your heart really wants is the fries. Well, Bullet Train is what happens when the fries are the centerpiece of the meal. It won’t inspire deep revelations about the human condition, but it is a flashy and fun journey that satisfies (just don’t pretend it’s something it’s not.)
The plot concerns 5 assassins whose objectives and fates converge on a bullet train speeding from Tokyo to Kyoto. Brad Pitt stars as Ladybug, a hitman in a serious career funk, convinced he’s cursed with bad luck (don’t worry, he’s getting some therapy for it.) Pitt, fresh off his first career Oscar win (Best Supporting Actor, Once Upon a Time in Hollywood) seems to be having an absolute blast. Ladybug gets to indulge in more physical comedy than any other character and delivers some of the film’s best lines (“Hurt people hurt people“) The speed with which Pitt can develop easy chemistry with a new co-star is foundational to the success of Bullet Train‘s ensemble.
Despite the film’s comedic tone, it’s important to acknowledge that is also extremely violent. Barely 5 minutes go by without somebody being shot, stabbed, bitten, gored, or otherwise demolished. The overall comedic attitude of the film does lessen the impact of the violence itself, but nobody would call this a family-friendly movie. It won’t be everyone’s cup of tea, but for those willing to take the trip, Bullet Train is an absolutely worthwhile thrill ride. Sometimes it feels good to just order the damn fries.
Grace Kaufman is Abbie. As a college student, she possesses a casual abandon to her behavior. Her age-appropriate nonchalance is perfectly balanced with Hall’s ever-evolving intensity. Tim Roth is a master manipulator as David. He’s downright frightening. His backstory as a groomer is beyond upsetting. Roth gives off a slimy aura that makes the viewer’s full body cringe. Rebecca Hall
The heightened sound editing chills the senses. It’s a palpable stress-inducing choice that accosts the audience. You’ll have to remember to breathe while watching Resurrection. Andrew Semans‘ writing astounds me. He understands the fear and gaslighting so many women live with daily, then takes it to the nth degree. It’s also about telling your story. Resurrection is relentlessly terrifying and grossly relevant. Believe women.
With Nope, Jordan Peele further solidifies his standing as the modern horror auteur. Who else is making movies like Peele right now? A better question might be, who else do the studios trust to make big budget, non-franchise films like this? (the list is very short.) With his third feature, Peele again delivers on that trust with another compelling narrative that pairs thrills with dazzling cinematography, as well as a willingness to subvert the expectations of his audience.
Siblings OJ (Daniel Kaluuya) and Emerald (Keke Palmer) Haywood are co-owners of Haywood’s Hollywood Horses, horse trainers serving the entertainment industry and descendants of a proud legacy. They are struggling to keep their heads above water in a competitive, dwindling industry (after all, a CGI horse is way easier to train, right?) They also have to contend with the long reputational shadow of their late father (Keith David), as well as the pressures of their family’s place in cinematic history (legend has it that they are direct decedents of the jockey featured in one of the very first motion pictures.) When OJ thinks he may have discovered UFO on the edges of their family ranch, he seizes on an opportunity to capture (and profit from) photographic evidence of their discovery.
Daniel Kaluuya and Keke Palmer give tremendous lead performances. Working with Peele for the second time (after 2017’s prolific Get Out), Kaluuya gives a subtle showcase. I can’t get enough of this pairing – I hope they work together 20 more times. Kaluuya’s OJ is quieter and more introverted than Palmer’s Emerald. Given his screen-time, he has minimal dialogue in the film – most of his performance comes from his eyes, his facial expressions, and his body language. I was reminded of Clint Eastwood’s Man with No Name character – someone who listened more than he spoke but was deliberate (and often lethal) in his action. Palmer’s Emerald is a ball of kinetic energy but also delivers poignant moments as well (especially in the film’s final act.) The two siblings have an easy, unfussy chemistry with each other.
Steven Yeun is phenomenal in the supporting role of former child star turned ranch/amusement park owner Ricky “Jupe” Park. When he was younger, Ricky was part of a TV sitcom co-starring a chimpanzee named Gordy. A tragedy occurred on set, and Ricky has spent his adulthood profiting off the memory of this trauma. While this incident fits with the film’s overall theme of spectacle (and the ways that humanity tries, and fail, to contain nature) it is an awkward fit. There are some haunting images associated with Ricky’s story (especially a moment where Gordy looks directly into the camera lens), but the resolution of this sub-plot doesn’t fit seamlessly with the action occurring on the Haywood ranch. Perhaps there is a larger intention here from Peele, but it just didn’t connect with me.
Jaimie’s genuine intentions lead Nan to interactions with a varying pool of hilarious people and ridiculous scenarios. Her irreverent behavior never ends. Nan does shots with a rowdy rugby team, attends a rave, and runs from police, just for starters. The clever transitional handcrafted 2D animation sequences are a hilarious ode to Jaime’s occupation and Monty Python. Mathew Horne as Jaime is the perfect foil for Tate. He essentially sits in as the audience in his failed attempts to keep Nan in check, emotionally and politically. Horne is so watchable. He has a natural charm.
It is the first time we hear Nan’s history. And boy, it is quite telling. It also allows Tate to shine her stellar acting skills with varying impressions, accents, and plenty of acerbic wit. You have to wonder how much dialogue is actually written by Tate and Brett Goldstein and how much is Tate’s famous improv abilities.
I first fell in love with her as a Whovian. Anyone who knows Tate’s performance as Donna Noble and, like me, did a deep dive into her extensive career understands what a pure delight she is. If you’ve seen her portrayal of Beatrice alongside David Tennant in the stage version of Much Ado About Nothing in 2011, you know the depths of her talent. Nan allows her to let loose in the most inhibited ways possible. In long form, The Nan Movie is a raunchy and rebellious road movie, with a side genuine of heart and humor. It is an undeniably fun watch, so get ready to sit back, relax, and laugh.
Kota Eberhardt, as Desi, holds her own against Krige. Her presence is equally as fierce as her costar. Something about her performance demands your attention. Eberhardt could easily carry a film on her own. Alice Krige is the epitome of genius as Veronica Ghent. The nuance she radiates is breathtaking.
The film possesses a mesmerizing score from Clint Mansell. Something Argento would approve. Jaime Ramsay‘s camera work is dizzying and invasive. The juxtaposition of striking visuals and memory fragments represents unresolved trauma, new and ancient. She Will feels like a victory cry for the #MeToo movement. Slick editing heightens the film’s themes of nature, instinct, suppression of power, and interconnected female experience. Charlotte Colbert‘s debut with co-writer Kitty Percy is a rage-shedding catharsis. She Will is the witchy stuff of dreams.
The two diverging stories give us perspectives on each end of the spectrum of war. One glamorized for the media. The other portrays the suffering and survival tactics of everyday existence in the kibbutz. 
The film overflows with fearless female characters, each unique and bold. 
Amir Khoury
The look of the film is beautiful. The attention to detail, lighting, costumes, and cinematic framing, right down to the closing credits, all scream period era, sweeping drama. The script has everything from war scenes to relationships in which you’re bound to feel invested. A lingering dread looms over the narrative, keeping the audience on their toes. But, the genuine portrayal of humanity at its most desperate keeps you in awe. Isreal’s most expensive production fits perfectly into Netflix’s awards season slate. 
Catching A Killer- Episode 2:
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