A movie that approaches and separates itself from a familiar storyline.
Self-destruction has been a popular cinematic theme since the silent era. One of the first examples being Charlie Chaplin’s The Cure from 1917, a film about a drunk who goes to a spa hoping to cure his addiction. Almost 100 years later, the most recent contribution to this popular narrative is Krisha, Trey Edward Shults’s first feature film. The film stems from Shults’s short film released the year prior titled Krisha, and, spanning over a single day, tells the story of a woman returning home after having disappeared for a number of years.
Krisha isn’t the first film to screen addiction, as stated above. To name a few movies of this genre: Miles Ahead (2016), Trainwreck (2015), Thanks for Sharing (2012), Shame (2011), Requiem for a Dream (2000), Man With a Golden Arm (1955), The Lost Weekend (1945), and Sadie McKee (1934). Yet since its festival circuit and (limited) release as of...
Self-destruction has been a popular cinematic theme since the silent era. One of the first examples being Charlie Chaplin’s The Cure from 1917, a film about a drunk who goes to a spa hoping to cure his addiction. Almost 100 years later, the most recent contribution to this popular narrative is Krisha, Trey Edward Shults’s first feature film. The film stems from Shults’s short film released the year prior titled Krisha, and, spanning over a single day, tells the story of a woman returning home after having disappeared for a number of years.
Krisha isn’t the first film to screen addiction, as stated above. To name a few movies of this genre: Miles Ahead (2016), Trainwreck (2015), Thanks for Sharing (2012), Shame (2011), Requiem for a Dream (2000), Man With a Golden Arm (1955), The Lost Weekend (1945), and Sadie McKee (1934). Yet since its festival circuit and (limited) release as of...
- 5/5/2016
- by samantha ladwig
- FilmSchoolRejects.com
Success is the Best Revenge: Russell’s Embellished Portrait of the Miracle Mop
Director David O. Russell has been often praised for the depictions of women throughout his filmography, beginning with an unforgettable Alberta Watson in his debut Spanking the Monkey (1994). Amy Adams, who starred in The Fighter (2010) and American Hustle (2013), publicly thanked the director for his generous roles for actresses, and he’s finally anchored a film around the perspective of a woman with Joy, starring Jennifer Lawrence in their third collaboration together (she won her Oscar for his 2012 title The Silver Linings Playbook). You wouldn’t know it up front, though the opening credits announce a dedication to spirited women everywhere, basing this on one perseverant woman in particular, but Russell is relaying the (exaggerated) story of Joy Mangano, the person behind the invention of the Miracle Mop. Recalibrated for Russell’s particular flavor of odd, broken...
Director David O. Russell has been often praised for the depictions of women throughout his filmography, beginning with an unforgettable Alberta Watson in his debut Spanking the Monkey (1994). Amy Adams, who starred in The Fighter (2010) and American Hustle (2013), publicly thanked the director for his generous roles for actresses, and he’s finally anchored a film around the perspective of a woman with Joy, starring Jennifer Lawrence in their third collaboration together (she won her Oscar for his 2012 title The Silver Linings Playbook). You wouldn’t know it up front, though the opening credits announce a dedication to spirited women everywhere, basing this on one perseverant woman in particular, but Russell is relaying the (exaggerated) story of Joy Mangano, the person behind the invention of the Miracle Mop. Recalibrated for Russell’s particular flavor of odd, broken...
- 12/23/2015
- by Nicholas Bell
- IONCINEMA.com
Joan Crawford Movie Star Joan Crawford movies on TCM: Underrated actress, top star in several of her greatest roles If there was ever a professional who was utterly, completely, wholeheartedly dedicated to her work, Joan Crawford was it. Ambitious, driven, talented, smart, obsessive, calculating, she had whatever it took – and more – to reach the top and stay there. Nearly four decades after her death, Crawford, the star to end all stars, remains one of the iconic performers of the 20th century. Deservedly so, once you choose to bypass the Mommie Dearest inanity and focus on her film work. From the get-go, she was a capable actress; look for the hard-to-find silents The Understanding Heart (1927) and The Taxi Dancer (1927), and check her out in the more easily accessible The Unknown (1927) and Our Dancing Daughters (1928). By the early '30s, Joan Crawford had become a first-rate film actress, far more naturalistic than...
- 8/10/2015
- by Andre Soares
- Alt Film Guide
Robert Montgomery, Joan Crawford, Clark Gable, Forsaking All Others Joan Crawford on TCM: Mildred Pierce, Flamingo Road, When Ladies Meet Schedule (Et) and synopses from the TCM website: 6:00 Am Forsaking All Others (1934) A woman pursues the wrong man for almost twenty years. Dir: W. S. Van Dyke. Cast: Robert Montgomery, Joan Crawford, Clark Gable. Bw-83 mins. 7:30 Am I Live My Life (1935) A flighty society girl tries to make a go of her marriage to an archaeologist. Dir: W. S. Van Dyke. Cast: Joan Crawford, Brian Aherne, Frank Morgan. Bw-97 mins. 9:15 Am Love On The Run (1936) Rival newsmen get mixed up with a runaway heiress and a ring of spies. Dir: W. S. Van Dyke. Cast: Joan Crawford, Clark Gable, Franchot Tone. Bw-80 mins. 10:45 Am When Ladies Meet (1941) A female novelist doesn't realize her new friend is the wife whose husband she's trying to steal. Dir: Robert Z. Leonard.
- 8/22/2011
- by Andre Soares
- Alt Film Guide
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