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How to watch it: Last Night in Soho will open in theaters.Esl college essay ghostwriting website for masters But the film’s lurid, sensational ride is still a cathartic blast, and McKenzie and Taylor-Joy are, as always, terrific. Drawing on horror traditions ranging from noir to giallo, Last Night in Soho, unfortunately, does not really add up to much in the end, and its dip into some of the clichés that come along with those traditions seems at times thoughtless rather than subversive. To escape, she dreams, literally, of living another life in 1960s London, as an aspiring singer (Anya Taylor-Joy), and her dreams and reality begin to mix in dangerous ways.
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When she finally breaks through and heads to London to study fashion, she discovers that the city - which led her mother toward a downward spiral - is full of terrors. Thomasin McKenzie stars as Eloise, a young woman raised by her grandmother in a tiny English town who dreams of being a fashion designer. How to watch it: The French Dispatch will open in theaters.ĭirected by Edgar Wright, Last Night in Soho is a messy, thrilling dip into the horror that comes from simply being a young woman alone in the world. And its cast is stacked, featuring Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray, and Owen Wilson. The French Dispatch plays like a lament for the glories of the 20th-century magazine writer’s life (big expense account, expansive deadlines, long contracts, private offices) but also, at least a little, like an argument for preserving the unwieldy joy of long-form journalism and financially precarious creativity.
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The publication is a passion project for its editor and writers, who are exacting, exasperating, and endlessly curious the film is structured as a few of its “stories” plus a couple of tidbits, all of which make up the final issue. On some level, it’s a loving homage to the New Yorker, reincarnated here as the French outpost of a Kansas-based newspaper, and set in the fictional town of Ennui-sur-Blasé. The French Dispatch is peak Wes Anderson, which may be recommendation (or warning) enough for some audiences. How to watch it: The Velvet Underground will open in theaters and stream on Apple TV+. Using the screen like a window and collaging together images and footage with audio from interviews, Haynes evokes a mood and a time he reminds audiences that some success comes from talent and hard work, and some of it just comes from being in the right place at the right time. The Velvet Underground is as much about the culture of 1960s New York City, dominated by Andy Warhol’s in-crowd and the work they made at his Factory, as the band itself. (Plus, they rock.) Haynes is no conventional director, and while he takes a fairly standard approach to the story - beginning with Lou Reed’s childhood on Long Island and moving forward from there - he weaves together more of a tapestry than a clunky paint-by-numbers documentary. Todd Haynes directs a highly satisfying documentary about the legendary Velvet Underground, the rock band that formed in New York City in 1964 and came to embody an important moment in the history of rock. How to watch it: The Last Duel will open in theaters. Still, there are some cool fights, and the film’s heart, at least, is in the right place. The screenplay (by Affleck, Damon, and Nicole Holofcener) is a bit of a clunker, insistently telling a story about believing women that is pointedly aimed at the present-day viewer rather than painting an accurate representation of the past. The Last Duel tells the story from three perspectives (Carrouges, Le Gris, and Marguerite), culminating in the titular encounter, the last sanctioned duel in France. Then, one day, Carrouges’s wife Marguerite (Jodie Comer) says that Le Gris has raped her. Two friends, Jean de Carrouges (Matt Damon) and Jacques Le Gris (Adam Driver), have fought together and been loyal to one another but drift apart as Le Gris begins to work for Count Pierre d’Alençon (Ben Affleck). The Last Duel - the first of two Ridley Scott movies hitting the big screen this year - takes a Rashomon-like (or perhaps Rashomon-light) approach to telling a true story from medieval Normandy.
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