Is it over the top and a bit ridiculous at times? Every product was carefully curated by an Esquire editor. No film on the subject has ever been this bracingly true to life, and much of the credit for that triumph goes to Driver and Johansson, whose superlative dueling performances—wounded and righteous, forlorn and furious, and marked by respective musical numbers—are as subtle as they are wrenchingly real. Haenel and Golino are both phenomenal, the latter particularly so as a Mona Lisa smile-flaunting beauty engaged in a process of uncharted self-definition. Ruth’s flight takes her to her childhood home and her mom Bo (Lorraine Toussaint) and daughter Lila (Saniyya Sidney), both of whom have the capacity to wield swirly-colored constructive/deconstructive energy. Independent writer Jo (Saoirse Ronan); conservative actress Meg (Emma Watson); prim painter Amy (Florence Pugh); and unwell pianist Beth (Eliza Scanlen). Whether it’s fiery Reverend Tillman (Wendell Pierce) or despondent unemployed Daniel (Dominique McClellan), Satan has infected the hearts and minds of this cane field-saturated area’s men, leaving women to suffer often-fatal blows and children – namely, Daniel’s young son Jeremiah (Braelyn Kelly) – to quietly go to seed, their corruption all but inevitable. Having said that, Cold Pursuit is one of the better examples of why this sort of movie works at all. That scheme, however, is mucked up by an encounter with Boston Celtics superstar Kevin Garnett (playing himself), a legitimate winner who takes a fancy to the valuable rock, as well as by conflicts with his business partner (Lakeith Stanfield), wife (Idina Menzel) and mistress (Julia Fox). Split into five sections spanning 1960-1980, and set in the country’s northern La Guajira region, Guerra’s film (co-directed by his wife and producing partner Cristina Gallego) details the disintegration of a Wayuu community thanks to enterprising Rapayet (José Acosta), who marries the daughter of imposing matriarch Ursula (Carmiña Martinez) and transforms everyone’s fortunes by smuggling weed procured from relatives. Directors Josh and Benny Safdie’s material operates at a relentless fever pitch, their camera gliding and rotating with the jittery excitement and terror of Ratner, and zooming into characters’ eyes—and observing them at a crane-assisted remove on city streets—with gritty ‘70s-era stylishness. It was a film released exclusively on Netflix, but even on the smaller screen, it's worth checking out. Like Roland Emmerich, if Michael Bay has a new movie out, then it's something that you need to see, and one should not let the fact that all the action takes place on a small screen detract from that fact. Their ensuing custody fight centers on which coast their kid will call home, and Baumbach’s sharp writing and visuals—full of close-ups of pain and fury, and remote compositions that separate and isolate his adrift protagonists—locates the way in which that battle inevitably warps that which was once good, leaving only resentment and ruin in its wake. Musician-filmmaker Blitz Bazawule’s feature debut is a spellbinding storybook fable about a young Ghanaian girl named Esi (Cynthia Dankwa) whose father Kojo (Joseph Otsiman) is convinced by his back-in-the-picture brother Kwabena (Kobina Amissah-Sam) to move their family from a village on stilts in the middle of a lake to the big city, where greater economic prosperity supposedly awaits them. Shin’ichirô Ueda’s cult classic-in-the-making is about a couple fending off a zombie plague. At nearly four hours, the film imparts an overpowering sense of its characters’ despair, and the misfortune that befalls them whether they remain alone or try to engage with others – a despondency only amplified by its empathy. 's Intelligence Unit Survive The Reforms In Season 8? The first release to emerge from the Obamas’ production deal with Netflix, Julia Reichert and Steve Bognar’s eye-opening documentary begins on a high, as American and Chinese workers show equal enthusiasm for the new venture, which promises to bring opportunity (and, hopefully, prosperity) to a community hit hard by a prior GM plant’s closing. Which – believe it or not – isn’t the final twist in One Cut of the Dead, a rollicking comedy that keeps viewers on their toes by constantly divulging new layers of reality. Determined to punish those responsible, he takes the fight to them himself. Mixing the class commentary of Snowpiercer with the family dynamics of The Host, Bong Joon-ho takes a scalpel to inequity with Parasite, his scathing drama about a lower-class clan that endeavors to pull itself up from the figurative and literal basement. No franchise dispenses more crazily choreographed violence than John Wick, in which savagery is carried out with both concussive force and dancer-like grace. A stellar cast that also includes Chloë Sevigny, Larry Fessenden, Danny Glover, Selena Gomez and Tom Waits (looking like a reject from Cats) go through their end-of-the-world motions with laid-back confusion and panic (they’re barely animated themselves). Kent Jones’ Diane is a character study of this solitary Massachusetts woman, filled with telling details and sharply observed moments that speak to her Christian altruism, her tough love, and the secrets that continue to torment (and, perhaps, drive) her. I was utterly shocked at how much I enjoyed Alita: Battle Angel. On the action front, it's a great example for how directors can experiment in the genre as well. Something else (let us know in the comments), Retired Actress Cameron Diaz Reveals How She Feels When Her Movies Hit Netflix's Top 10, Amy Adams’ Hillbilly Elegy Reviews Are In, And They're A Doozy, Mank And 11 Other Big Netflix Movies Coming Before The End Of 2020, Candyman: 9 Quick Things We Know About The 2021 Horror Movie, The Real Housewives Of Salt Lake City: What You Need To Know About The New Bravo Cast, David Fincher Has Some Blunt Thoughts About Tentpole Movie Culture. Mangold’s story is about the might of American ingenuity and daring (versus sleek Italian arrogance), and a celebration of non-conformity in the face of (unbeatable) corporate pressure. Of course, why wouldn’t you? The allure of the light drives two men into pitch-black madness in Robert Eggers’ The Lighthouse, a work of period-piece insanity that more than fulfills the promise of his 2015 debut The Witch. Also channeling the spirit of Robert Altman, Brian De Palma, Alfred Hitchcock and Hollywood golden-age classics (set to a Henry Mancini-esque score), Sam’s cine-odyssey is a quest for meaning in an overstuffed pop-culture world. Like the mist that covers the mountainous region’s treetops, suggestions of profane forces are everywhere – in the sight of Albrun milking her goat, or a shrine for a skull – and they burrow under one’s skin, much like the unholy whispering and thunderous bass heard on a soundtrack that heralds madness, doom, the end. The Oscar season may be just kicking into high gear, but at Esquire, we’re ready to crown the year’s 50 (!) Paired with its predecessor, it’s one of the finest Stephen King adaptations ever. Elevating its conventional storytelling through mega-watt personality and fast, screeching track action, Mangold’s based-on-real-events film rides alongside former champ Carroll Shelby (Matt Damon) and his rough-around-the-edges driver Ken Miles (Christian Bale) as they attempt to build a car for Henry Ford II (Tracy Letts) capable of besting Ferrari’s legendary vehicles in 1966’s 24-hour Le Mans contest. Acquiring those positions, alas, necessitates ruining their predecessors, and holding onto them entails even nastier business – as well as enduring the petty cruelty, condescension and selfishness of their employers. High in the mountains of an unidentified Latin American country, a band of child soldiers (with names like Rambo, Wolf and Boom Boom) partake in intense physical training and unique aggro rituals – such as lashing a member for their birthday – while guarding their hostage, an American doctor (Julianne Nicholson). Linda Hamilton was back. In the Austrian Alps circa the 15th century, young Albrun (Celina Peter) tends to her mother (Claudia Martini), a supposed witch, in their remote log cabin.

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