“[We’re] incorporating new sounds that have evolved beyond old-school. Kiernan Shipka, Lucy Boynton, Emma Roberts, Lauren Holly, and James Remar are poignant in their minimalist roles, and writer-director Oz Perkins arranges their characters in a cleverly constructed narrative prism that simultaneously dramatizes violence and its aftermath in an endless chain reaction of perpetual cause and effect. It shows us the mind of not just PTSD-afflicted field surgeon Henry (David Call), but also that of his prototypical sewn-together “monster,” Adam (Alex Breaux), and his assistant and Big Pharma bankroller, Polidori (Joshua Leonard). A startling commonality emerges if you look over the following films in short succession that’s revelatory of the entire horror genre: These works aren’t about the fear of dying, but the fear of dying alone, a subtlety that cuts to the bone of our fear of death anyway—of a life unlived. So, she was like, “Look can I get that on my album.

I’ve had a lot of Zoom meetings. Lyrics like “Daddy, I disobeyed ya/Now I want you to come punish me” invite all kinds of psychoanalysis that only grow more disturbing when you remember who her daddy really is, which would be fascinating if she hadn’t already written the sexier (and less creepy) “Rope Burn.” If one were to try to identify some kind of evolution in Janet’s latest bout of dirty talk, it might be sex with robots.

It feels like we have no way of my proving as a filmmaker what I knew, which was the holistic nature of who we are as human beings. I’m having these Zoom meetings with [people asking] like, “What do you want to do?” I have these ideas, and I have literally scripts where I’m like, “Here’s what I want to do.” The reaction is always, “That’s small.” And I’m like, “Yeah, it’s small!” I don’t think I’ll make a big leap after this at all. Yeah, I mean, I still don’t really know what the thesis of college is, but I know the arguments. The riffs on “Tristessa” are some of the most efficient the Pumpkins have ever crafted. Bradley’s frequent deployment of stirring piano solos by Emahoy Tsegué-Maryam Guèbrou may give Time the aura of a fairy tale as Fox faces down a seemingly insurmountable system of oppression in the name of love, yet the film never loses grounding in the everyday realities and inhumanities made normal by mass incarceration. It was made right after his other high watermark, 2001: A Space Odyssey, and as he returns to Earth from his mind-blowing brush with the cosmic, it’s a sort of sequel about our planet rotting away from the inside. It’s in this film’s elementary plotting that Bava, by withholding information and leaning more on animalistic themes dictating bizarre character motivation, unveils a deceptive depth that the film’s acolytes can’t discern among the copious amounts of blood spilled within its frames. Dillard, Quite a bit of the fun of The Hole in the Ground resides in guessing how Lee Cronin’s shopworn signifiers fit together, as he offers a smorgasbord of portentous elements that include a crone by the roadside, the aforementioned hole and the woods, a pointed reference to Sarah’s (Seána Kerslake) medication, and Chris’s (James Quinn Markey) newfound sense of inhuman formality.
I think it goes back to this idea of the sort of cinematic challenge of trying to allow things to feel as they do in the real world. I made a sweatshirt instead and made it so that if I said something…there’s actually a scene where I talk about Greenhill, and not that I shit on it. Honestly, when I was acting in it, it was pretty cathartic because there were certain scenes where I had never really gone there. I wish I could say something more profound than that, but it was just pure instinct.
I was so dependent on my family members, and they were so rock solid that I got to college and felt like I was without oxygen for the first time.

I was just talking about this. To celebrate, we’ve ranked all 24 theme songs, excluding the original “James Bond Theme” and the instrumental title song from 1969’s On Her Majesty’s Secret Service, both performed by the John Barry Orchestra. When I initially started shooting, my intention was twofold.

While we await word on the fate of Janet’s 12th studio album—and accompanying concert tour—we’ve decided to look back at her catalog and rank all 11 albums from worst to best. Yet the film gradually becomes something more than a mixtape of horror gimmicks, as it homes in on a frightening real-world subtext.

Though Jane’s dramatization of rage is haunting and shrewdly comical in its overt and ultimately moving über-manliness.

How do you write for college students? Rahzel The Godfather of Noyze has become one of the household names for beatboxing. High-pressure taunts casually and constantly hang in the air, such as Alexia’s (Ella Rumpf) insistence that “beauty is pain” and a song that urges a woman to be “a whore with decorum.” In this film, a bikini wax can almost get one killed, and a drunken quest to get laid can, for a female, lead to all-too-typical humiliation and ostracizing. The intro also included a moment where Questlove would shout the episode number of that night’s “Tonight Show.”.

But I will say that as a writer—I think I realized this recently because I’ve been writing a ton again—it does make me a better person.

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