Images courtesy Warner Bros. Pictures.
As the COVID-19 pandemic quietly spreads through the U.S. and the country very loudly grinds to a halt, movie theaters are one of many businesses that are shutting their doors. Amid news of delayed releases and entire theater chains closing, last weekend was the worst at the box office in 25 years, and no. 1 finisher Onward in particular suffered a second-weekend drop of more than 70%, which is almost unprecedented.
Americans didn’t go to the movies last week, and they won’t be returning for some time. But there is one movie that remains a communal experience right now, something people are watching in droves, is a nine-year-old horror movie directly related to the present crisis – Steven Soderbergh’s Contagion.
Posted in A less chaotic state, White Noise
Tagged #donald trump, #jude law, #laurence fishburne, #Magic Mike, #marion cotillard, #steven soderbergh, Alex Jones, CDC, Contagion, coronavirus, COVID-19, Gwenyth Paltrow, Matt Damon, Scott Z. Burns, The Laundromat, The Report, Unsane, WHO
Images courtesy Focus Features.
6/10 Luxurious period comedy Emma is absolutely raucous at points, but as it wears on, it just doesn’t spend enough time being funny.
Hartfield, England, early 1800s- Emma Woodhouse (Anya Taylor-Joy), handsome, clever and rich, has lived nearly 21 years in the world with very little to distress or vex her. After two people she introduced get married, Woodhouse decides that she is a matchmaker, much to the chagrin of longtime companion George Knightley (Johnny Flynn). Woodhouse takes on Harriet Smith (Mia Goth), a new friend of uncertain breeding, as her plaything, attempting to set her up with various local gentlemen to generally chaotic results.
A lot of what made me think this movie was going to be different was the rich golden hue on most of its images, which is nice, but doesn’t contribute much of anything. Images courtesy Sony Pictures Releasing.
2/10 I adore Takashi Shimizu’s American Grudge movies from the mid-‘00s for their unforgiving pacing and dense array of strong jump scares, so I was excited to see a reboot coming from writer/director Nicolas Pesce – not because I’d seen or enjoyed any of his prior work, just because I implicitly trust the process of promoting indie directors to do studio work despite all the examples of it not working out. I’d somehow gotten into my head the idea of this 2020 Grudge movie as being a passion project by someone who wanted to bring the franchise into a new decade instead of a routine attempt by Sony to milk its properties, one that they’d been trying to push out for almost 10 years by itself without success.
Hoping for a piece of art when I should have been expecting a corporate cast-off, I kind of got both.