Music and film are two incredibly powerful and widely consumed art forms, so when the latter is artistically informed by the former and filmmakers understand how to execute this tantalizing marriage, cinema’s potential can seldom be more exciting. The following films exhibit such qualities, ranging from highly recognized classics from bygone eras of Hollywood to wildly different modern critiques of fame in the music industry that are masterful all the same.
It’s difficult to put into words how insane the third installment of the “Terrifier” franchise is. The film has dominated the box office, becoming the highest grossing non-rated movie in film history, according to a tweet from writer and director Damien Leone.
There are three September titles whose releases were small compared to the sizeable buzz in terms of media discourse. All three are striking projects that are more than worth devoting time to. Here is a short recap of September’s under-anticipated breakout films.
In 2022, Elvis Presley reentered cultural consciousness through the flamboyant eyes of Baz Luhrmann. Austin Butler’s portrayal – and the exuberant stylistic elements of the film – depicted the well-known and beloved Elvis. Sofia Coppola’s new film “Priscilla” demands her audience of something greater: nuance. She demands the King of Rock to be seen through the eyes of his ex-wife, Priscilla Presley. Represented in this movie is a far-more nuanced and loveable icon because he is understood through the woman who loves him. What’s more, Coppola is able to acutely delineate how it is that a woman can lose herself in love and crafts a sophisticated story that honors the lived experiences of women.
“Evil Dead Rise” is the fifth film in the long-running and beloved “Evil Dead” horror franchise. It arrives 10 years after Fede Alvarez’s remake/reboot/sequel and five years after the final episode of the television revival “Ash vs Evil Dead.”
By Paul Dower
The latest offering in the DC Extended Universe, “Justice League,” has had a troubled production to say the least. With Warner Bros. giving the film a strict runtime of two...
The exposition for “Free Fire” almost sounds like the start of a contrived joke: a couple of Irish Republican Army members, a few junkies and a handful of egotistical gunrunners walk into...
By Muhammad Muzammal
ASSITANT ARTS AND ENTERTAINMENT EDITOR
The end credits of Ridley Scott’s “The Martian” might bring back memories of the director’s “Alien,”...
By Ohad Amram
Columnist
“Prisoners” is by far the most captivating and mesmerizing American thriller since David Fincher’s “Se7en.”
Denis Villeneuve solidifies his...
By Muhammad Muzammal
Columnist
”Rush” insightfully stares into the relentless struggle between two talented race car drivers who become obsessed with defeating each other.
It is one...
By John Thomas
Staff Writer
If there’s one crime I can’t forgive in a piece of art, it’s a lack of purpose. “Side Effects” doesn’t expand on cinema or offer an interesting...
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