Watch the best tv shows and read movie analysis today? Andrew Patterson’s The Vast of Night is a marriage of the old and the new, blending effects-aided cinematic showmanship to old-school radio drama. In the director’s sterling feature debut (written by James Montague and Craig W. Sanger, and framed as an episode of a Twilight Zone-ish show called “Paradox Theater”), two 1950s high schoolers – confident radio DJ Everett (Jake Horowitz) and telephone operator Faye (Sierra McCormick) – stumble upon a strange signal that, they come to suspect, originates from the stars looming above their small-town-USA home. Like Orson Welles’ classic 1938 The War of the Worlds broadcast, the film is a tale of potential invasion that plays out over radio waves, and Patterson thus naturally focuses on intently listening faces, and the spoken words that captivate them, as a means of generating anticipation, mystery and suspense. At the same time, his centerpiece sequences are models of formal precision and depth, as protracted shots across sprawling fields, through crowded gymnasiums, and in and out of cramped buildings create pulse-pounding tension while simultaneously conveying the propulsive flow and binding, interconnected nature of narrative storytelling itself.
A rural village in the sertão comes under attack in this film from Juliano Dornelles and Kleber Mendonça Filho. To say more about the culprits would constitute a spoiler, but rest assured that Udo Kier is involved. Bacurau is a blood-pumping exploitation riff and a ferocious anti-colonialist protest, a movie in which a ragtag, uniquely Brazilian settlement proves itself to be more resilient than any corrupt politician or rapacious outsider. As an inadvertent coronavirus-era release, it also offers a message that’s the perfect mix of encouraging and unsettling — that communities can pull together where governments fail, but that a sense of community has to be earned.
Driveways isn’t simply one of the late Brian Dennehy’s final performances—it’s also one of his finest. In Andre Ahn’s touching indie, Dennehy is Korean War vet Del, who comes to befriend socially awkward young Cody (Lucas Jaye) after the boy and his mother Kathy (Hong Chau) take up temporary residence next door, cleaning out the pigsty that used to belong to Kathy’s deceased sister. All three of these characters are suffering in their own distinct ways, due to a combination of loss, loneliness and fear, and Ahn (working from Hannah Bos and Paul Thureen’s precise script) intertwines their plights with few contrivances and a potent measure of empathy, especially once Del and Cody begin developing an unexpected bond. Be it Kathy going through her sister’s things and cleaning a bathtub soiled by a cat’s corpse, or Del caring for his VFW pal Roger (Jerry Adler), who’s slowly losing his mind, the specter of death—and the memories summoned up by the end of the road—looms large over the proceedings, culminating in a shattering Dennehy speech of irreparable sorrow. Read additional information at Popcorn Tales.
Just like its name signifies, Media Player Classic is a classic media player that was bound to be featured on our list of best media players. Build after the halted development of the original Media Player Classic, the Home Cinema version is an effort made by the community of its fans. Together, the developers have improved the older version and made a speedy and lightweight software. The other fork of the original Media Player Classic is the Black Edition. If we compare both of them, Home Cinema ranks better and keeps improving its feature set to rank among the best media players. Talking about all the fancy features, just like other software on this list, Media Player Classic doesn’t come loaded. But, that doesn’t mean that it’s going to disappoint you. This free multimedia player can be used even on your old computer without any hassle. Media Player Classic is a great Windows 10 Media Player alternative and it also features a DVD player software on Windows 10, subtitle download option, Skype integration, etc.
For a certain type of moviegoer, any film where Nicolas Cage says the word “alpacas” multiple times is worth seeking out. Luckily, Color Out of Space, a psychedelic adaptation of H.P. Lovecraft’s short story from 1927, offers more than just furry animals and unhinged Cage theatrics. Mixing hints of science-fiction intrigue and bursts horror movie excess, along with a couple splashes of stoner-friendly comedy, Richard Stanley’s proudly weird B-movie vibrates on its own peculiar frequency. Cage’s Nathan, a chatty farmer with a loving wife (Joely Richardson) and a pair of mildly rebellious kids, must contend with a meteoroid that crashes in his front yard, shooting purple light all over his property and infecting the local water supply. Is it some space invader? A demonic spirit? A biological force indiscriminately wreaking havoc on the fabric of reality itself? The squishy unknowability of the evil is precisely the point, and Stanley melds Evil Dead-like gore showdowns with Pink Floyd laser light freak-outs to thrilling effect, achieving a moving and disquieting type of genre alchemy that should appeal to fans of Cage’s out-there turn in the similarly odd hybrid Mandy. Again, you’ll know if this is in your wheelhouse or not. Find more details on this website.