Be among the first to watch Marvel Studios’s ETERNALS!
WAMG is giving away 10-family four packs. For a chance to win enter your name in the comments section below.
The advance screening of the film is Wednesday, November 3rd, 7pm at Marcus Ronnies Cine 20 on the IMAX screen.
No purchase necessary.
Marvel Studios’ “Eternals” follows a group of heroes from beyond the stars who had protected the Earth since the dawn of man. When monstrous creatures called the Deviants, long thought lost to history, mysteriously return, the Eternals are forced to reunite in order to defend humanity once again.
The outstanding ensemble cast includes Gemma Chan as humankind-loving Sersi, Richard Madden as the all-powerful Ikaris, Kumail Nanjiani as cosmic-powered Kingo, Lia McHugh as the eternally young, old-soul Sprite, Brian Tyree Henry as the intelligent inventor Phastos, Lauren Ridloff as the super-fast Makkari, Barry Keoghan as aloof loner Druig, Don Lee as the powerful Gilgamesh, with Kit Harington as Dane Whitman, with Salma Hayek as the wise and spiritual leader Ajak, and Angelina Jolie as the fierce warrior Thena.
Chloé Zhao directs the film, and Kevin Feige and Nate Moore are the producers, with Louis D’Esposito, Victoria Alonso and Kevin de la Noy serving as executive producers. The screen story is by Ryan Firpo & Kaz Firpo, and the screenplay is by Chloé Zhao and Chloé Zhao & Patrick Burleigh and Ryan Firpo & Kaz Firpo.
Marvel Studios’ “Eternals” opens in U.S. theaters on Nov. 5, 2021.
Fans can purchase advance theater tickets through Fandango to see the movie on the big screen in select cinemas.
Check out a brand-new, action-packed trailer, poster and image for Disney and Pixar’s “Lightyear,” an original feature film releasing June 17, 2022. The sci-fi action-adventure presents the definitive origin story of Buzz Lightyear—the hero who inspired the toy—introducing the legendary Space Ranger who would win generations of fans.
Chris Evans (“Knives Out,” “Avengers: Endgame”) lends his voice to Buzz. “The phrase ‘a dream come true’ gets thrown around a lot, but I’ve never meant it more in my life,” says Evans. “Anyone who knows me knows that my love for animated films runs deep. I can’t believe that I get to be a part of the Pixar family and work with these truly brilliant artists who tell stories unlike anyone else. Watching them work is nothing short of magic. I pinch myself every day.”
Annie Award-winning director and veteran Pixar animator Angus MacLane, who co-directed 2016’s “Finding Dory,” helms “Lightyear.” Galyn Susman (“Toy Story That Time Forgot” short) produces.
Some fun facts about this Space Ranger:
Buzz was named after Buzz Aldrin, the second man to walk on the moon, and his last name was intentionally space-related because of him being a Space Ranger.
Barbara Stanwyck in the pre-code drama LADIES THEY TALK ABOUT (1933) will be available on Blu-ray November 9th from Warner Archive
In most prison films, the convicted man is rehabilitated by the love of a woman. In Ladies They Talk About, Barbara Stanwyck plays a woman who becomes rehabilitated by the love of the man who sent her to prison.
A prime example of the raw and racy films made before the enforcement of Hollywood’s repressive “production code”, this Warner Bros. title previously released in the “Forbidden Hollywood” series stars Stanwyck as Nan Taylor, a bank robber who gets sent to prison for her role in a bank heist. David Slade (Preston S. Foster) is the reformer who has fallen in love with her. When her two “partners” are killed in a jailbreak attempt in which she, too, is involved, Nan thinks David is the one responsible for tipping off the authorities. But she soon learns to trust in his love for her, eventually reciprocating and leaving her unsavory past behind. Codirected by William Keighley, who went on to direct The Man Who Came to Dinner, and based on the play by Dorothy Mackaye and Carlton Miles, Ladies They Talk About is not only worthy talking about, it’s worth seeing over and over again.
Special Features: Vintage WB 1933 Cartoon I LIKE MOUNTAIN MUSIC (HD), Vintage WB 1933 Short PURE FEUD (HD), Theatrical Trailer (HD)
NOMINATED FOR TWENTY-FOUR 2021 EMMY AWARDS AND WINNER OF FOUR 2021 GOLDEN GLOBE INCLUDING BEST DRAMA SERIES – BONUS MATERIALS INCLUDE THREE FEATURETTES THAT TAKE A LOOK INSIDE THE MAKING OF THE CRITICALLY ACCLAIMED SERIES
As the 1970s are drawing to a close, Queen Elizabeth and her family find themselves preoccupied with safeguarding the line of succession by securing an appropriate bride for Prince Charles, who is still unmarried at 30. As the nation begins to feel the impact of divisive policies introduced by Britain’s first female Prime Minister, Margaret Thatcher, tensions arise between her and the Queen which only grow worse as Thatcher leads the country into the Falklands War. While Charles’ romance with a young Lady Diana Spencer provides a much-needed fairy tale to unite the British people, behind closed doors, the Royal Family is becoming increasingly divided.
SPECIAL FEATURES Triumph & Tragedy: Diana and Charles Three Groundbreaking Women Research, Costumes & More: The Making of Season 4Photo Gallery
CAST Cast: Olivia Colman, Tobias Menzies, Helena Bonham Carter, Gillian Anderson, Josh O’Connor, Emma Corrin, Marion Bailey, Erin Doherty, Emerald Fennell, Stephen Boxer
“The mob doesn’t think. It has no mind of its own.”
Spencer Tracy and Sylvia Sidney in Fritz Lang’s FURY (1936) will be available on Blu-ray November 9th from Warner Archive
Joe Wilson, a wrongly jailed man thought to have died in a blaze started by a bloodthirsty lynch mob, is somehow alive. And dead to all he ever stood for and perhaps ever will. Because Joe aims to ensure his would-be executioners meet the fate Joe miraculously escaped. Spencer Tracy is Joe, Sylvia Sidney is his bride-to-be, and Fury lives up to its volatile name with its searing indictment of mob justice and lynching. In his first American film, director Fritz Lang (Metropolis, The Big Heat) combines a passion for justice and a sharp visual style into a landmark of social-conscience filmmaking. In the 49 years before this movie’s release, some 6,000 people in the U.S. were victims of lynch mobs. The Fury over those tragedies – and over other injustices to come – remains.
Extras: Commentary by Peter Bogdanovich with archival interview comments from Fritz Lang, Theatrical Trailer (HD)
After heading off to distant worlds in DUNE (transported via the “cinema starship”), how about a visit to another faraway world? Well, it feels and looks pretty similar to our own, but with some major differences. If only our Earth had as much wit, charm, and whimsy, though both have Bill Murray, one of a galaxy of stars. I’m talking about the wondrous world of Wes Anderson, who effortlessly mixes nostalgia, literate language, and modern film tech to create a place that evokes a magical past, but feels fresh and new. And, he’s gifted movie lovers with a pretty wrapped early holiday present. Oh, it’s a gift subscription to the supplement magazine to the Liberty Kansas Evening Sun, THE FRENCH DISPATCH.
The film begins, much like many periodicals, with a brief publishing history and a table of contents, introducing us to the various editors. Its office on the top floor of a small building in the French metropolis of Ennui-sur-Blase is run by longtime editor Arthur Howitzer, Jr. (Murray) until his sudden death in 1975. As his longtime staff gathers for a memorial in his private office, the narrator (Angelica Huston) presents several articles from the supplement’s long run. First is a bicycle tour of the streets of Ennui by writer Herbsaint Sazerac (Owen Wilson). The pages turn to the art section as J.K.L. Beensen (Tilda Swinton), tells the story of painter Moses Rosenthaler (Benicio Del Toro) to a rapt audience. Moses was producing abstract paintings of his muse/guard Simone (Lea Seydoux) while serving a lengthy sentence for multiple murders (though he’s clearly disturbed). This attracts the attention of art dealer/hustler Julian Cadazio (Adrian Brody) whose gallery promotes the work of Moses. Though unable to get the artist a pardon, Julian prods him into creating a masterpiece for the owner of the Evening Sun. From there we’re off to the “current events” section as writer Lucinda Krementz (Frances McDormand) examines the student uprisings of the late 60s as she focuses on the young leader of the movement, the charismatic Zefferelli (Timothee Chalamet). Rounding out this “best of” edition is a food article by Roebuck Wright (Jeffrey Wright). Guesting on an early 70s TV talk show he relates the story to its host (Liev Schrieber), one that begins as an examination of “police cuisine” by sharing a meal with the police commissioner (Mathieu Amalric). But the entrees are set aside when the commissioner’s son is kidnapped by ruthless criminals led by his chauffer (Edward Norton) and his showgirl/moll (Saoirse Ronan). This prompts a harrowing chase and a police dragnet of the city. At its conclusion, the story resumes back in Howitzer’s office as the staff prepares for an uncertain future.
As with many Anderson projects, there are no clear “lead roles’, but the cast, many in his unofficial “reparatory company” get ample time to ‘shine’ in several small roles. Murray is the perfect father figure/supervisor as the soft-spoken Howitzer. Wilson balances his laconic line delivery with some nifty slapstick as our cycling guide (look out for the subway entrance…). One of the movies’ most versatile “chameleons” adds another eccentric role to her repertoire as the awkward, toothy art expert who’s not as witty as she believes. Del Toro is funny and dangerous as the animal-like art savant and is matched by Tony Revolori as his younger self. He makes for a good counterpart in his scenes with Brody as the intense, motor-mouthed “artist exploiter” Julian. Seydoux is the ultimate deadpan seductress as the prison’s model/muscle. McDormand is “all business” as the investigating journalist who gets far too close with Chalamet, who’s his usual youthful charmer (and capable of cultivating a much better mustache, I’d think). As the new writer in town, Wright has a melancholy dignity as he conquers the challenges of the time (though many barriers he faced are still in place). Amalric is a most efficient “crimebuster”, always in control despite the danger to his youngster. His personal chef, Nescaffier juggles policework and epicurial accument is played with grace and subtlety by Stephen Park. And though they’re given few lines, it’s great to see Elizabeth Moss, Fisher Stevens, and Griffin Dunne huddled in the editor’s office. Oh, and who’s that next to Anderson stalwart Bob Balaban? Could it be our beloved Fonz, Henry Winkler? Exactamundo’!
As you’ve no doubt surmised, this is an anthology film, with segments clearly delineated by article headings and even page numbers (Pg. 14-53, etc.). And with that format, some stories are stronger than others. It was wise for Anderson to bookend the (to be kind) less riveting of the stories (the student protests) in the middle, between the delightful prison artist and police dinner sequences. The script from Anderson and co-writers Roman Coppola and Hugo Guinness is full of wit and acerbic commentary (“no crying” is written above Howitzer’s door). And then there are the exquisite visuals. Each moment is designed and framed like a classic illustration or photo essay from a bygone era. Happily, Anderson has the look of the film constantly changing, popping from black and white to color, from widescreen to standard “square” ratio, and going from rapid editing “chops” to superb “slo-mo”. Plus there’s a nod to “old school” effects with some delicate miniatures (love the “cross-section” airplanes) along with classic “hand-drawn” style “2D” animation (the a”artist renderings” are in the style of the FD covers created by the staff artist Hermes Jones played by Jason Schwartzman). It’s all engaging “eye candy’ for adults (though all ages should be fascinated). Here’s another qurky, endearing literary “love letter” from one of our most imaginative film “voices”. It’s a shame we can’t all subscribe to THE FRENCH DISPATCH, but this delight is the next best thing.
Great set designs and cinematography. Moments of innovative direction by Edgar Wright. Superb performances from the two leading actresses – Thomasin McKenzie and Anya Taylor-Joy. All of that frittered away because Wright’s screenplay begins with an intriguing premise before wandering everywhere but into the realm of coherence.
McKenzie plays a country lass who realizes her dream of acceptance into London’s best fashion school, where she plans to develop her designs based on the swinging 1960s, which was when her late mother thrived for a while before losing her marbles. She’s immediately dissed by the school’s “Mean Girls”, causing her to leave the dorm and find a room in an old woman’s (Diana Rigg, lamentably in her last role) even older, run-down house. She begins having visions of the glamorous times in that neighborhood from the era she worships, including Taylor-Smith’s role as a gutsy aspiring singer. It all looks so glamorous until it turns dark, and the lines between past and present start blurring to McKenzie’s growing fear and desperation.
The rest of the plot simply descends into sub-standard horror fare that wears out its welcome long before the sweet relief of rolling credits. But before then, the two stars shine bright. McKenzie’s an Audrey Hepburn-like babe in the woods, bringing a joyful, wide-eyed optimism to the big city before it starts crushing her. Taylor-Joy’s character is a brash wannabe who thinks she’s on her way to the top in the nightclub scene until she starts to find the rot beneath the glitz.
Perhaps the best reason to consider watching is Wright’s brilliant deployment of mirrors to show McKenzie’s perspective as a mute witness to past events that may or may not have actually occurred. Truly some award-worthy visuals in those moments. Many will also be delighted with the score that plays such a major role beyond creating atmosphere. If only the script could have remained as interesting as those specific elements.
Two Out of Four
LAST NIGHT IN SOHO is now playing in select theatres
Before you begin to fill the candy bowls and light up the jack o’lantern, how about taking a terror trek to the “haunted” multiplex for a very modern take on the traditional “creature feature”? Yes, there’s a growling drooling mythical monster at the center of the story, though the town and its past are pretty scary without this “beastie”. Perhaps this is a result of the unique behind-the-scenes pairing of a producer known for his fantasy fright flicks and a director who’d helmed several films that deal with all-too-human horrors. Together this “mad move-scientist” duo have stitched together a shambling nightmare thing that threatens to impale several villagers on its razor-sharp ANTLERS.
This said nightmare actually begins during another overcast day, just outside a remote dying town in Oregon. Its life’s blood, the mining operation, has long-shuttered its doors. But, there’s a glimmer of hope as the news spreads of a re-opening. This sends two locals, who were using it as a meth lab, scrambling to get their stuff out of the mine entrance. Though Frank Weaver (Scott Haze) and his pal are hurriedly filling up cardboard boxes, a growling noise coming from the cave entrance commands their attention. And when their screams join the noise, Frank’s seven-year-old son Aiden (Sawyer Jones) strolls into the darkness. Several weeks later, new teacher and returning resident Julia Meadows (Keri Russell) struggles to hold the interest of her elementary school class as she talks about myths and fables. One student, sullen, quiet Lucas Weaver (Jeremy T. Thomas) grabs her interest. She’s especially unnerved when he reads from his assignment. It’s a tale about a family of sick ravenous bears. The accompanying drawings, filled with red-ink gore, sound off the alarms in Julia’s head. She mentions this to her brother Paul (Jesse Plemons), who’s the town sheriff, in the family home they share (he’s now the owner as Julia’s looking for her own place). He warns her not to get involved. Meanwhile, Lucas returns to his ramshackle house, locking his bedroom door as hideous shrieks and screams, along with violent pounding, fill the darkness. Julia forges ahead with her sleuthing as the remains of someone, torn apart by seemingly human teeth, is found in the woods. Could this have been caused by whatever’s in the Weaver home? And could the Meadows siblings be next on its menu?
Though perhaps best known for her TV work (“Felicity”), Russell expertly handles the many “layers” of the story’s main facilitator. Her Julia sets the story “in motion”, though she’s more than a “scholarly savior”. This heroine is battling her past demons as much as the menacing monster. Through Russell’s eyes, you can see Julia waver as she almosts opts for ‘self-medication” while trying to drown the ghosts that tormented her in every room of the home she somehow survived. Many of those spirits swirl about her brother Paul, played with stoic subtlety by Plemons. He loves his big sister, though he suppresses a “tinge’ of resentment over her escape from the Hell that their father created for them. He’s dealing with “it’ by putting his head down and doing his job, even as it consists mainly of evicting his neighbors. But perhaps the most “haunted” character might be young Lucas, brought to heartbreaking life by Thomas. Much as with old cartoon icons, a dark cloud seems to always hover over him as he deals with a merciless bully in between doing his disturbing red-drenched art. Yet, Thomas gives him stubborn dignity and even optimism as he is convinced that he can somehow repair his broken family. The story also benefits from several screen vets in supporting roles. Rory Cochrane is the loyal deputy, Amy Madigan is a stern but sympathetic school principal, and Graham Greene is the former town lawman who “fills in the blanks” on the source of the town’s scourge while trying to hide his belief that nothing can stop what’s been “put into motion” by ancient vengeful forces.
There’s a ‘gloom” that covers nearly every frame in this vision of small-town life helmed by director Scott Cooper and produced by (amongst others) Guillermo del Toro. The main street is filled with boarded-up storefronts, while the sidewalk is filled with an endless line of residents awaiting treatment at the overwhelmed drug rehab facilities (almost as big a line as the liquor store). This is a dying community, one that can be “snuffed out” with little notice by the media or the nation. The screenplay co-written by Cooper along with Henry Chaisson and Antosca (based on his original short story) balances that slow march to oblivion with the childhood fears of the outdoors (something is watching you in those woods…and waiting). And at the story’s heart is the power of often long-forgotten myth which can curse those too weak to fight back. Luckily the human drama is as powerful as the supernatural showdowns with sequences that should satisfy the “horror crowd”. And without “spoiling” the finale, it isn’t cut and dry as the effects of the beast will still menace , even if only in dreams. ANTLERS delivers on the scares, but its setting and characters (given life by a superb cast) will linger long after the lights go up.
A scene from the French crime thriller TV series “NOX,” streaming on Topic. Courtesy of Topic.
“NOX” is a six-episode subtitled miniseries from French TV that is far more complicated than most, but worth investing the requisite degree of concentration. It’s perfect for binging, since that makes it easier to stay with all the characters and subplots unfolding before you. It starts as cops vs. bank robbers, from the vantage of detective partners Julie and Raphael (Maiwenn and Malik Zidi, respectively) as they figure out which bank will targeted next. They nail it, but most of the thieves manage to escape into Paris’ elaborate underground systems of tunnels. Julie dashes into the dark ahead of her partner and inexplicably vanishes.
The hunt for her is on, but subterranean Paris (at least in this presentation, if not in fact) is three levels of spider webs under the entire city, with the lowest dating back to the Roman Empire’s occupation. No one has explored all of them. Some parts are closed. Others are rarely visited, holding centuries of secrets. Some parts shelter the homeless; others provide cover for all sorts of criminal activity. This explanation is provided because much of the action and the major plot drivers are based there, making the labyrinth more of a central character than a menacing setting.
Julie’s mom Catherine (played by Nathalie Baye) is a disgraced former detective with a personality that’s a force of nature. She pushes her way into the effort, variably pissing off everyone while alternately helping or hindering their efforts. Raphael is guilt-ridden due to his closeness to Julie and his being the last to see her. Catherine’s withering finger-pointing does nothing for his morale, either.
Along the way, many possibilities are dangled for Julie’s fate. Alive or dead? Underground or living abroad? Captive of criminals, or perhaps even some supernatural entity? Not only that, are all the cops involved trustworthy? The search becomes even more complicated when they discover the remains of many bodies encased in the walls. Perhaps this mysterious force or some regular human felons have been bumping off an untold number of Parisians for decades.
There’s a lot of plot to unpack, but you’re best left on your own for the rest of the premise and paths the players follow. NOX is gritty and gruesome, but never gratuitous. You may not like or empathize with the leading figures much of the time, but the twisty story arcs should certainly engage the minds of the attentive. Performances are excellent from everyone in this large cast on both sides of the law, and in between. Visually, it’s often more akin to a horror flick than to crime dramas, given the time spent underground, not knowing who or what to expect at each turn. Director Mabrouk El Mechri makes excellent use of his many settings within the dank labyrinth, keeping a boatload of story elements from six credited writers suspenseful, and relatively tight for multi-episode TV fare.
“NOX,” in French with English subtitles, is available for streaming Oct. 28 on Topic.
“You know, I’ve always wanted a child. And now I think I’ll have one on toast!”
Nothing’s more fun than The Wildey’s Tuesday Night Film Series. The Halloween FavoriteHOCUS POCUS (1993) played there last week, but turnout was so large, that they are doing it again! HOCUS POCUSwill be back on the big screenwhen it plays at The Wildey Theater in Edwardsville, IL (252 N Main St, Edwardsville, IL 62025) Friday October 29th. at 6:00pm and again at 8:30 Tickets are only $3 Tickets available starting at 3pm day of movie at Wildey Theatre ticket office. Cash or check only. (cash, credit cards accepted for concessions) Lobby opens at 5pm.
Bette Midler, Kathy Najimny, and Sarah Jessica Parker star in HOCUS POCUS. A curious youngster moves to Salem, where he struggles to fit in before awakening a trio of diabolical witches that were executed in the 17th century.
