Movies Page
Be it “Sing Street,” “The Last Picture Show,” or “Dazed and Confused,” coming-of-age films often capture the essence of the time they are set in.
Drawn in part from his own upbringing in an abusive religious school, “Bad Education” anchors itself by way of Gael García Bernal in what may arguably be his best performance, slipping into the chameleonic requirements of a story that explores the hardships of childhood and the comforts that we can provide each other, and those that are lost when we’re pulled apart.
It’s three hours and 15 minutes long, it’s paced with a pleasing stateliness and overflows with incident and emotion — and it spins out the story of László Tóth (Adrien Brody), a Hungarian-born Jewish architect who journeys from Budapest to America after World War II, as if Corbet were making a biopic about a real person.
But on a day like this, amongst people like the Paiva family – Eunice, her engineer husband Rubens (Selton Mello) their five volleyball-playing, Coke-tanning, dog-adopting children and their live-in housekeeper Zeze (Pri Helena) — its presence is mostly felt only in radio reports of kidnapped diplomats and in the occasional army convoy that trundles down the road separating the beach from their large, airy home.
Sony’s June offering Bad Boys: Ride or Die set into motion a major reset and a two-month box office recovery that made the “sins of the past disappear quickly in the rear-view mirror,” says Comscore analyst Paul Dergarabedian.
The Brutalist chronicles the journey of Hungarian-born Jewish architect, László Tóth (Adrien Brody), who emigrates to the United States in 1947 to experience the “American dream.” Initially forced to toil in poverty, he soon wins a contract with a mysterious and wealthy client, Harrison Lee Van Buren (Guy Pearce), that will change the course of the next 30 years of his life.
In a recent interview with IMDb, Zendaya, Mike Faist, and Josh O’Connor shared some of their favorite scenes from their upcoming film Challengers, offering a glimpse into the movie’s stunning visuals and the emotional depth of its characters.
“The Order,” written by Zach Baylin and directed by Justin Kurzel (whose “Nitram” chillingly dramatized the 1996 Port Arthur massacre in Tasmania), is at once a supremely intelligent docudrama about the rise of the white-supremacist movement and a riveting crime story.
As the nation is now entrenched in the former president’s third race for the White House, and given the myriad tweets and statements denouncing the use of many songs, the ignored cease and desist notices, and the air of unbridled rage surrounding the matter, one would think Trump and his team would begin to exercise caution on the selection of tunes played to excite or otherwise influence the emotions of his current and would-be supporters.
The project, which Korine took pains to emphasize isn’t really a “film” at all, follows a group of mercenaries calling themselves the “Duck Mobb” as they loot mansions at gunpoint while wearing baby faces as digital avatars to conceal their identities.
Fiennes gives a superb performance as a man beginning to have doubts about his faith as a result of all these scandals, and when he emerges as a top contender to be named pope, his crisis of conscience intensifies.
Shortly after the clip went viral, Morris commented on the situation on Twitter, pointing out that if it were a female country artist behaving as such, they would “be dropped, endorsements lost [and become] social pariahs to music row.”