Last year, Anna Kendrick starred in Mary Nighy’s disquieting drama of abuse Alice, Darling. The actress played a woman undone by her partner’s psychological manipulations, pulling from her own experiences in an abusive relationship to shape the character. Her performance — sensitive, gripping — sustained the film’s atmosphere of dread.
In Woman of the Hour, Kendrick builds on the work she started in Alice, Darling — but now she is also behind the camera for this unnerving dramatization of serial killer Rodney Alcala’s appearance on a dating game show while in the midst of his murder spree. Woman of the Hour, which premiered at TIFF before its Netflix acquisition, is an ambitious attempt to subvert true-crime genre expectations by giving voice to the survivors and victims of Alcala’s rampage.
The film experiments with time jumps and perspective shifts to create an impressionistic portrait of the murders. Its action kicks off in 1977 with Rodney,...
In Woman of the Hour, Kendrick builds on the work she started in Alice, Darling — but now she is also behind the camera for this unnerving dramatization of serial killer Rodney Alcala’s appearance on a dating game show while in the midst of his murder spree. Woman of the Hour, which premiered at TIFF before its Netflix acquisition, is an ambitious attempt to subvert true-crime genre expectations by giving voice to the survivors and victims of Alcala’s rampage.
The film experiments with time jumps and perspective shifts to create an impressionistic portrait of the murders. Its action kicks off in 1977 with Rodney,...
- 9/12/2023
- by Lovia Gyarkye
- The Hollywood Reporter - Movie News
Adapted from the novel by Jennifer E. Smith, director Michael Lewen’s “Hello, Goodbye and Everything in Between” captures adolescent interactions and intelligence through an empathetic lens. But even though this Netflix original doesn’t condescend to its targeted teen audience, it fails to surmount basic issues dealing with narrative credulity and the outcome’s predictability.
The story centers on two modern-minded teens who enter a 10-month-long dating compact as an obligatory starter romance, agreeing to break up the night before leaving for college. But would real teens remotely act this way? Or are the adult creators transposing their own ideas onto teen turf?
Cautious high school senior Clare (Talia Ryder) thinks she’s risk-averse. All the moving around when she was young, due to her parents’ divorce, made her plunge head first into her textbooks. Determined not to be distracted by boys or friendships, she concentrated instead on securing...
The story centers on two modern-minded teens who enter a 10-month-long dating compact as an obligatory starter romance, agreeing to break up the night before leaving for college. But would real teens remotely act this way? Or are the adult creators transposing their own ideas onto teen turf?
Cautious high school senior Clare (Talia Ryder) thinks she’s risk-averse. All the moving around when she was young, due to her parents’ divorce, made her plunge head first into her textbooks. Determined not to be distracted by boys or friendships, she concentrated instead on securing...
- 7/6/2022
- by Courtney Howard
- Variety Film + TV
The search for a “Bond 25” composer has ended with the perfect choice: Dan Romer, who provided offbeat, eclectic scores for director Cary Fukunaga’s trippy “Maniac” series and haunting “Beasts of No Nation” feature. IndieWire has learned that Romer will soon reunite with Fukunaga on “Bond 25,” currently shooting in London.
There had been speculation that the director might tap Oscar-winner Justin Hurwitz (forming a Team Damien Chazelle triumvirate with cinematographer Linus Sandgren and editor Tom Cross) or franchise vet David Arnold, who brilliantly scored Daniel Craig’s first two Bond outings, “Casino Royale” and “Quantum of Solace.”
But after glimpsing last week’s tantalizing Jamaican sizzle reel with the spicy temp track, “Boom Shot Dis” by Kully B & Gussy G, it became clear that Romer could provide the right musical ingredient for “Bond 25” (which was nearly titled “A Reason to Die” ). That’s because Romer excels at finding the appropriate vibe with quirky,...
There had been speculation that the director might tap Oscar-winner Justin Hurwitz (forming a Team Damien Chazelle triumvirate with cinematographer Linus Sandgren and editor Tom Cross) or franchise vet David Arnold, who brilliantly scored Daniel Craig’s first two Bond outings, “Casino Royale” and “Quantum of Solace.”
But after glimpsing last week’s tantalizing Jamaican sizzle reel with the spicy temp track, “Boom Shot Dis” by Kully B & Gussy G, it became clear that Romer could provide the right musical ingredient for “Bond 25” (which was nearly titled “A Reason to Die” ). That’s because Romer excels at finding the appropriate vibe with quirky,...
- 7/2/2019
- by Bill Desowitz
- Indiewire
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