Zhivago beauty, all while shouting out to (among others) Charlie Chaplin and Sergio Leone. Be it early shots from the perspective of its parachuting-through-trees protagonists, or a snowy attempt to infiltrate a metropolitan gala, Zhang blends Hitchcockian suspense with Dr. This quartet splits up into couples to achieve their covert aim, only to be immediately and constantly beset by encounters with comrades who may be double (or triple?) agents. Zhang Yimou ( Hero, House of Flying Daggers) brings glamorous style to familiar spy-movie clichés with Cliff Walkers, a knotty 1930s-set espionage saga in which four Chinese communist agents sneak into Japan-occupied Manchuria to smuggle out the sole survivor of a torture camp. Decades after their original losses, their pain doesn’t appear to have dimmed, and Hurwitz and LeBlanc’s documentary illustrates how grief, survival and swimming-against-the-current resolve can be core catalysts for lasting creativity. The young performers’ attempts to make their adaptation of D-Man in the Waters speak to today is a pressing concern during rehearsals, and also factors into Jones’ visit to LeBlanc’s studio, where he provides casting pointers and background on the origins of the show, which Jones and original troupe members discuss with insightful poignancy. Jones and D-Man in the Waters is both a historic tribute to that work and an examination of its continuing relevance, which comes to the fore via former Jones collaborator LeBlanc’s staging of the number with a group of students at California’s Loyola Marymount University. Director Tom Hurwitz and Rosalynde LeBlanc’s documentary Can You Bring It: Bill T. Jones’ D-Man in the Waters, a famed 1989 piece that was inspired by both his partner Arnie Zane and company star Demian “D-Man” Acquavella’s fatal struggles with AIDS. Timeless art is often born out of highly particular experiences, as was the case with dancer and choreographer Bill T. Crafted with jarring edits and split screens for maximum disorientation, the ensuing mayhem is stunning, scary and considerably gross, and heralds the arrival of a uniquely out-there horror voice. That’s just the beginning of the ordeal writer/director Devereux Milburn has in store for his protagonists, who are joined at their dinner by a dazed-looking man with a bandaged head, and who soon discover that Karen has devious plans for them – some of it having to do with her daughter. Though Riley and Sam are vegans, they’re compelled to chow down on some of Karen’s home-cooked beef and bread, the latter of which is especially dicey given that this region is notorious for having lost crops and cattle to a poisonous spore. On a New England camping trip, the couple have a run-in with an unfriendly landowner who evicts them from their sleeping spot, forcing them to embark on a nocturnal trek through the woods that leads to the home of Karen (Barbara Kingsley). There may be many more films to look forward to in the coming month, but as of now, these are our choices for the best movies of 2021.ĭon’t eat anything of unknown origins – a warning that goes unheeded by oft-bickering Riley (Malin Barr) and Sam (Sawyer Spielberg, son of Steven) in Honeydew. Best of all, though, is Denis Villeneuve’s Dune, which-whether viewed on HBO Max or in IMAX ( the better option, to be sure)-is a sci-fi gem of gargantuan-scaled beauty and thrills.
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Is a superior horror show marked by a fantastic Rebecca Hall performance, and Todd Haynes’ The Velvet Underground is a formally inventive bio-doc that captures the spirit of the pioneering band and the counterculture from which it sprang. The same holds true for Edgar Wright, whose Last Night in Soho is a delirious genre mash-up about the dangers of unchecked nostalgia. Wes Anderson’s The French Dispatch confirms that the director has lost none of his idiosyncratic touch. Before looking too far into the future, however, it’s worth remembering that there are plenty of great works to see right now. With recent blockbuster titles like Venom: Let There Be Carnage, Halloween Killsand Dune proving that Americans are willing to venture out to the multiplex, upcoming films as varied as Eternals, Ghostbusters: Afterlife, King Richard and House of Gucci have reason to be optimistic about their chances for box-office success. Keeping up with that onslaught will be a difficult task for most, but it certainly bodes well for cinephiles, as well as the industry, whose health has been a constant question throughout the pandemic.
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It’s been a uniquely chaotic movie year, and things are about to get very busy in November when an avalanche of high-profile mainstream releases and award-seeking dramas crowd the marketplace.