(The movie’s tagline was “Surgery is the new sex.”) Everything in “Crimes of the Future” looks like shit – the actors are barely made up the walls of the locations are cracked and crumbling the photography muddy – and that’s part of the point. This movie, which shares a name with a short film from early in his career, images a perpetually crummy future where performance artists like Viggo Mortensen (one of Cronenberg’s closest collaborators in recent years) get surgery on stage for the amusement of an indifferent audience. – Drew Taylor Rosalineĭavid Cronenberg, at 79, is an elder statesman of body horror, the subgenre he helped pioneer with movies like “Scanners,” “The Brood” and his extra-slimy remake of “The Fly.” But, as “Crimes of the Future” proves, he can bring the goo. This one takes some turns, but it feels like the appropriate end point for this run of “Halloween” films and a more emotional, grounded recalibration after the bloodbath that was “Halloween Kills.” Turn down the lights, pull up Peacock and turn the sound up. Easier said than done, especially when a loner with a past (Rohan Campbell) unknowingly awakens Michael Myers. Laurie is living with her granddaughter (Andi Matichak) and attempting to let the trauma of her past dissipate. And now we have the closer, “Halloween Ends.” It’s been four years since the events of ‘Kills’ and, for the most part, Haddonfield, Illinois has moved on. “Halloween Kills,” initially slated for 2020, finally opened last year. After the success of the 2018 movie, two sequels were quickly announced, forming a modern-day, stand-alone trilogy. In that way, “Catch Me If You Can” is something of a love letter to Spielberg’s own father after his string of “Bad Dad” movies like “E.T.” and “Indiana Jones and the Last Crusade.” – Adam Chitwood The Indiana Jones QuadrilogyĢ018’s “Halloween” boldly did away with the cumbersome mythology of a series of so-so sequels and remakes, instead returning to the bedrock that made the 1978 original so special – chiefly, putting Jamie Lee Curtis in the lead role (she’s now older and embittered, but she’s still our Laurie Strode) and making the whole thing scary as hell. This was rooted in Spielberg’s discovery late in life that his parents’ divorce was not, as he and his siblings were led to believe, because his father left, but instead because his mother fell in love with someone else and his father didn’t want the kids to blame her. Like many of Spielberg’s films, divorce is a theme here, but unlike those other movies this one finds DiCaprio’s father (played by Christopher Walken) as the jilted one while his mother leaves to start a new family. Tom Hanks plays the FBI agent hot on his trail, and Spielberg delights in chronicling the jet-set era of the 1960s. Low-key one of Steven Spielberg’s most personal films, 2002’s “Catch Me If You Can” finds Leonardo DiCaprio filling the role of a real-life con man who impersonated a pilot, doctor and lawyer all while still being a teenager. (If you haven’t seen it in a while, it’s really striking.) Come for “Magic Dance,” stay for a young girl coming under the romantic sway of a supernaturally powerful oddball. And above all of the visual razzle-dazzle, including some of the greatest, most convincing characters Henson and his Creature Shop ever dreamed up, it’s this weird subtextual stuff about a young girl’s coming-of-age and her accompanying sexual awakening, that give the movie its power all these years later. Much of the fun of “Labyrinth” comes from watching David Bowie play the king of the goblins – a limber, sexually suggestive phantom who seduces and repels Sarah in equal measure. On her watch he’s kidnapped by goblins, leading her into a fantastical realm within the titular, monster-filled maze. A young Jennifer Connelly stars as Sarah, a teenage girl who is stuck babysitting her infant brother. “Labyrinth,” Jim Henson’s unfairly maligned musical fantasy, was released back in 1986.
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