Genre : Action, Crime, Thriller
Studio : Perfect Storm Entertainment, Original Film, Roth-Kirschenbaum Films, Universal Pictures, One Race, ZXY MOVIES
Runtime : 145 minutes
Casts : Tyrese Gibson, John Cena, Cardi B, Shad Moss, Sung Kang, Michael Rooker, Jordana Brewster, Ozuna, Michelle Rodriguez, Nathalie Emmanuel, Charlize Theron, Vin Diesel, Don Omar, Tego Calderón, Finn Cole, Jason Tobin, Lex Elle, Krzysztof Mardula, Ludacris, Martyn Ford, Kurt Russell, Helen Mirren, Albert Giannitelli, Lucas Black, Anna Sawai, Bad Bunny, Vinnie Bennett, Amber Sienna, Paul Walker, Méghane De Croock
Director : Justin Lin
Writer : Gary Scott Thompson, Daniel Casey
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RECOMENDED ALL MOVIES REVIEW (2021)
The Woman in the Window (2021)
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What is The Woman in the Window plot summary?
The Woman in the Window
Movie The Woman in the Window An agoraphobic woman living alone in New York begins spying on her new neighbors only to…
Anna Fox (Amy Adams) is a child psychologist who suffers from severe agoraphobia. She spends her days holed up inside of her New York City apartment in Harlem, sometimes talking on the phone with her husband Ed (Anthony Mackie) and their young daughter Olivia (Mariah Bozeman), who live somewhere else and never seem to visit. She has a tenant named David (Wyatt Russell) who lives downstairs and brings her groceries.
Anna starts spying on the neighbors who move in across the street, Alistair Russell (Gary Oldman) and his family. Anna’s psychologist, Dr. Landy (Tracy Letts) takes this as a positive — her curiosity is a sign that her depression is ebbing. He also mentions that she’s been taking medication for her depression and agoraphobia and that she has previously attempted to kill herself. Anna fails to mention to her doctor that she has a drinking problem, and has been taking her medication with a tall glass of wine.
Anna becomes even more invested in the Russells after she is visiting by 15-year-old son Ethan (Fred Hechinger), and later by the woman whom she believes to be the boy’s mother, Jane Russell (Julianne Moore). She begins to suspect, from hints from both Ethan and Jane, that Alistair is an abusive father and husband. One night, while Jane is in a drunken and medicated haze, she witnesses the Russells fighting. Using a telescopic camera lens, she clearly sees the woman she believes is Jane Russell stabbed with a knife. She does not see who does it.
Anna calls the police, then stumbles fearfully into the street in an attempt to help Jane. But she is hit by a car, and wakes up in her apartment to two NYPD detectives (Brian Tyree Henry and Jeanine Serralles) who claim that Anna raised a false alarm. Alistair arrives and tells Anna that not only is his wife fine but that Anna has never met his wife. As proof, he brings her out. Now Jane Russell is played by Jennifer Jason Leigh — very much not the Julianne Moore version of Jane Russell that Anna met earlier. Even the teenager Ethan insists that Anna has never met his mom, and expresses concern for Anna’s mental well-being.
Anna spends a few weeks trying to prove she is not crazy by finding out everything she can about Alistair Russell. She discovers that Alistair had an assistant named Pamela Nazin who recently died, supposedly by falling from her terrace. She also discovers an earring — an earring she remembers the Julianne Moore version of Jane Russell wearing — in the room of her tenant, David. David, by the way, is apparently on parole and is living out of state illegally. He gets extremely aggressive with Anna when she accidentally discovers this
Oxygen (2021)
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Alexandre Aja makes a very different kind of confined spaces thriller to follow up his great “Crawl” in this week’s also-great “Oxygen,” premiering today on Netflix. It may have been in development before the world knew anything about COVID-19 (and once had Anne Hathaway attached), but this truly feels like the most ‘pandemic thriller’ yet in its own unpredictable way. It’s a film about isolation, loss, and an uncertain future. Shot in July 2020, it clearly reflects all of the international concerns about diminishing oxygen intakes even as it unfolds in a manner that seems unimaginable. Most of all, it features a stunning performance from the great Mélanie Laurent (“Inglourious Basterds”), who owns the screen as the film’s only real character. With robust direction in an incredibly confined space and Laurent’s phenomenal work, “Oxygen” should feel like a breath of fresh air for people looking for something to watch on Netflix. (Sorry.) An agoraphobic woman living alone in New York begins spying on her new neighbors, only to witness a disturbing act of violence. A woman wakes in a cryogenic chamber with no recollection of how she got there. As she’s running out of oxygen, she must rebuild her memory to find a way out of her nightmare.
STILLWATER — RECAP/ REVIEW (WITH SPOILERS)
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SUMMARY
It took 15 years for Dawson, Will, Leech, Cooper, Richie, and Jackson to have a camping trip in an isolated part of the woods. Why so long? Well, because nearly everyone started a family, or in Richie’s case went into the marines, and grew apart. But, during their reunion, they find Leech has invited additional people. One simple named “The Wizard” alongside a young woman named Fauna and another named Vera.
While not welcomed, at all, at first, with the Wizard bringing drugs, and some dudes not being fond of the sausage fest they had, they become welcomed. That is, until the following morning when a body is found and assumed dead. From then on, accusations fly, people are forced to verbally and physically defend themselves, and whatever strength in unity motto the boys had, becomes nothing but hot air.
A Quiet Place Part II
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A Quiet Place Part II
Movie A Quiet Place Part II Following the events at home, the Abbott family now face the terrors of the outside world…
Following the deadly events at home, the Abbott family must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path. Filming Locations: New York City, New York, U…
Director: John Krasinski Release Date: 28 May 2021 (USA) Stars: Emily Blunt, Millicent Simmonds etc.
Spirit Untamed
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An epic adventure about a headstrong girl longing for a place to belong who discovers a kindred spirit when her life intersects with a wild horse, Spirit Untamed is the next chapter in the beloved story from DreamWorks Animation.
Storyline. Lucky Prescott’s life is changed forever when she moves from her home in the city to a small frontier town and befriends a wild mustang named Spirit. Production Co: DreamWorks Animation, Walden …
Motion Picture Rating (MPAA): Rated PG for Technical Specs: Sound Mix: DTS | IMAX
‘New Order’ Review: 2021
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New Order
Movie New Order In the near future, a popular uprising in Mexico City interrupts a wedding held at the home of a…
‘New Order’ Review: Michel Franco’s Violent Protest Movie Is Horrifying, Unpredictable, and Out of Control
Once you’ve seen “New Order,” you’ll never look at green paint again without shuddering. In Michel Franco’s harrowing, ultra-violent coup d’etat thriller, lurid green paint is what crowds of anti-government protesters throw at cars and riot shields, so it’s a spine-tingling moment when a woman turns on the tap in her swanky bathroom and the water gushes green. A minute later, the water is clear again, but there is no mistaking the omen. This is not going to be a good day.
It all starts promisingly for Marianne (Naian González Norvind), the daughter of a wealthy Mexican businessman. She’s about to get married in the chic city-center house designed by her architect brother (Diego Boneta): all those glass walls, reminiscent of the ones in “Parasite,” are perfect for glimpsing protesters outside. As groups of well-dressed movers and shakers boast about the planning permits they’ve finagled, and as their scions knock back champagne and cocaine, she dashes from room to room, greeting guests, chivvying the indigenous servants, stashing wedding presents (invariably cash-stuffed envelopes) into a safe, and keeping an eye out for the judge who will marry her and the similarly affluent groom.
The trouble is, the judge is held up in traffic because protesters have blockaded the streets. The disruption has even spread as far as the city’s public hospital, where one of the family’s former servants was due to have a heart operation, and so the sick woman’s husband (Eligio Meléndez), another ex-servant, turns up at the wedding to ask for 200,000 pesetas to fund a private operation.
The scene is set for a sly satirical farce about class division, and keeping up appearances when your privileged lifestyle is disrupted. The clock ticks, the plot thickens, and then — boom — a gang of protesters scales the house’s garden walls, and we are suddenly watching a gleefully gory home-invasion shocker. Don’t get attached to any of the characters. It’s a jaw-dropping switch in tone and genre and then — boom again — Franco plays the same trick a second time. The action jumps forward to the weeks that follow the civil unrest, and we are plunged into a nightmare of lootings, shootings, torture, blackmail, and martial law.
Threaded through these scenes of a society’s collapse — imagine an even grimmer “Children of Men” — is the abduction of one character and the efforts of some other characters to secure their safe return. After the wedding sequence, though, it isn’t just an individual or a family’s sufferings that make the viewer squirm, but a whole country’s. “New Order” shows crime and corruption pervading every part of Mexico, like green paint in the water supply: the national flag is seen twice, rippling in slow-motion. It’s a bold, angry, provocative indictment, but because Franco zooms back to the state-of-the-nation big picture, he loses sight of the characters who were sketched so sharply in the opening scenes. They’re still in the film, but they have so little agency and dialogue that they are reduced to counters on a board — or ants for him to scorch beneath his magnifying glass.
The initial moral ambiguities shrink away, too. The first act asks how responsible the working-class protesters are for the characters’ plight — it was protesters who stopped a poor woman having the operation she needed, after all — and whether anyone is obliged to hand over cash to someone they haven’t seen in eight years. But the rest of “New Order” replaces such complex questions with one simple statement: everything is awful.
Eventually, the relentless horror has a distancing effect. There are only so many loud, shattering gunshots you can hear and close-ups of terrified faces you can see before they become numbing. “New Order” is endurance cinema that reaches Haneke and von Trier levels of walk-out-ability. But ultimately you stop hoping that the grisly ordeal might come to any kind of edifying conclusion, and start wondering how much more you can take. Worse, you stop lamenting the injustice, and start reassuring yourself that, well, at least things around us aren’t quite as bad as they are in “New Order.” Sadly, none of Franco’s examples of greed, urban chaos, or extra-judicial killing is far-fetched at the moment, but because he stacks these examples on top of each other, a mini-series’ worth of Orwellian calamity in a trim 86 minutes, his vision ends up seeming more like dystopian science-fiction than contemporary reality.
Still, it’s rare to see a film this merciless in its brutality. “New Order” is sure to become a cult favorite among people who like their films to be traumatizing, although other people will be repulsed by Franco’s sadistic tendencies. The closing credits go by with no music over them, but music might have been a waste, anyway. After viewers have got over their shellshocked silence, the soundtrack could well be drowned out by cheers or boos.
