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‘Hereditary’ Review: The Bar For the Best Horror Film of 2018 Has Been Set
‘Hereditary’ Review: The Bar For the Best Horror Film of 2018 Has Been Set
‘Hereditary’ Review: The Bar For the Best Horror Film of 2018 Has Been Set
In recent years, one horror film emerges early on as the best horror film of the year. In 2017 it was Jordan Peele’s exceptionally smart social thriller Get Out; in 2016 it was Robert Eggers’ period stunner The Witch; in 2018 that honor goes to Ari Aster’s Hereditary. Starring Toni Collette as a woman struggling to cope with the increasingly disturbing implications of her mother’s death, Aster’s ferocious directorial debut plumbs the darkest depths of mental illness to reveal the true meaning of psychological terror.
Shots Fired: A Day of Paintball, Explosions and Unchecked Male Egos With the ‘Free Fire’ Team
Shots Fired: A Day of Paintball, Explosions and Unchecked Male Egos With the ‘Free Fire’ Team
Shots Fired: A Day of Paintball, Explosions and Unchecked Male Egos With the ‘Free Fire’ Team
Sharlto Copley is the kind of guy you want on your side when the shots start flying, though you might not think that’s the case after seeing Free Fire. The first full-fledged American production from UK director Ben Wheatley is a wild warehouse free-for-all featuring an absolute murderer’s row of actors, including Copley, Armie Hammer and Brie Larson (among many others). In a film where every man (and woman) is out for himself, perhaps no one is more self-serving than Copley’s Vernon, a narcissistic gun-pusher who is, for lack of a better adjective, kind of a weenie. But on a stunt ranch just outside Austin during SXSW, Copley was far from cowardly on the frontlines of the paintball battle field.
‘Atomic Blonde’ Review: More Bond Than ‘Blonde Wick,’ And That’s Not a Knock
‘Atomic Blonde’ Review: More Bond Than ‘Blonde Wick,’ And That’s Not a Knock
‘Atomic Blonde’ Review: More Bond Than ‘Blonde Wick,’ And That’s Not a Knock
Atomic Blonde is an easy sell: It’s Charlize Theron in a stylish spy thriller from one-half of the directing duo behind John Wick. But the first solo directorial effort from David Leitch is a little more James Bond than Blonde Wick — James Blonde, maybe, and that’s not a bad thing. It’s certainly more plot-driven (and at times, slightly convoluted) than John Wick, but no less enjoyable, and though the action scenes are every bit as awesome as you’d hope, it’s not quite the film you might be expecting.

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