You can’t really deny prospective appeal of Kristen Stewart playing a gun-wielding, gadget-toting, ass-kicking super detective, which makes today’s potential casting news pretty exciting. Elizabeth Banks and Sony are reportedly eyeing Stewart to play one of the three leads in their upcoming big screen reboot of Charlie’s Angels, but she’s not the only awesome name under consideration — obviously.
The rape-revenge sub-genre has grown tedious and tiresome. There is nothing particularly novel or clever about these films, which almost always present the male perspective of a woman’s sexual trauma and envision her enacting some grotesque revenge fantasy. That’s a huge narrative (and social) liberty to take with something as serious as sexual violence, and the prospect of sitting through yet another rape-revenge movie directed by some white dude is an exhausting one. So it was intriguing, and somewhat exciting, to learn that Revenge was written and directed by a woman.
IT may be the surprise box office hit of 2017, but it’s not the most surprising Stephen King adaptation of the year. That honor goes to Gerald’s Game, Mike Flanagan’s adaptation of what is perhaps the most un-adaptable novel in King’s bibliography — not necessarily in terms of the story’s graphic content, but by virtue of its narrative conceit. Approximately 98 percent of Gerald’s Game centers on one woman and her inner monologue as she desperately attempts to free herself from a dire situation.
As a visual exercise, Wheelman is interesting: The camera never leaves the getaway car(s) being driven by Frank Grillo’s titular professional accomplice, either filming the action from the backseat or from the side of the car’s exterior. That offers a unique, rarely-seen perspective, but it’s ultimately wasted on a film that fails to deliver any actual excitement — exceptionally disappointing when it’s a film produced by Joe Carnahan, a director who knows a thing or two about crafting engaging action thrillers.
“The Square is a sanctuary of trust and caring. Within it, we all share equal rights and obligations.” This is the description assigned to the provocative art installation at the center of the latest film from Force Majeure director Ruben Ostlund. For his follow-up, Ostlund takes his aim beyond the confines of marriage for a more expansive, but no less precise satire — this time of a more social nature. The mission statement of the titular artwork in The Square is also (obviously) referring to a figurative communal “safe space,” but Ostlund’s film is anything but.
The current cinematic trend toward “explainer culture” — the need to dissect art to discern its true meaning and the demand for directors to explain their creative intentions — is counterintuitive to the enjoyment of art. As David Lynch once said, “The film is the thing.” The movie is the conversation; the only explanation that really matters is your own. And yet, walking out of Brawl in Cell Block 99, it’s almost impossible to not wonder about writer and director S. Craig Zahler’s intentions. Is this a genuine exploitation film, or is it merely exploitative? And if it’s the former, what place do those films have and what purpose do they serve in 2017?
Yorgos Lanthimos delivered one of the best films of 2016 with The Lobster, a darkly comedic and comprehensive satire of relationships and dating, featuring a wonderful performance from a schlubby Colin Farrell. If you walked away from that film thinking that maybe the director of Dogtooth was softening a bit, Lanthimos returns this year — schlubby Colin Farrell in tow — with his darkest film yet. The Killing of a Sacred Deer is a predictably uncanny, pitch-black tragicomedy that pits a narcissistic surgeon against a sociopathic teenager for what is undoubtedly one of the most disturbing cinematic experiences of the year.
IT is on track to best The Exorcist as the top-grossing horror film of all time, making it safe to assume the latest adaptation of the Stephen King classic will be just as much of a hit when it arrives on Blu-ray. In addition to the longer director’s cut recently confirmed by Andres Muschietti, the home release of IT will likely also include some deleted or alternate scenes. And according to one of the film’s young stars, we might know what at least one of those scenes could be.
Sorry not sorry about that headline, folks, but a trailer for a new Wes Anderson movie is something to get super-silly-stoked about. For his second stop-motion animated film, the director who’s made a habit of killing dogs in his movies finally gives canines their due. The first trailer for Isle of Dogs has arrived, and I regret to inform you that it’s going to make the wait until next March that much more painful.
A young woman sits in a college library by herself, separate from the rest of her peers. You can tell from her body language that she’s an introvert; uncertain, insecure, perhaps a little unusual. When a female classmate sits next to her, something strange begins to happen: Birds deliberately fly into the large glass windows of the library. Moments later, the young woman has a seizure, falls to the floor and urinates on herself. This is how Thelma formally introduces the eponymous character to her classmates, and, in some ways, it is Thelma’s first meaningful interaction with herself — and it won’t be her last.
It appears that you already have an account created within our VIP network of sites on .
To keep your personal information safe, we need to verify that it's really you.
To activate your account, please confirm your password.
When you have confirmed your password, you will be able to log in through Facebook on both sites.
*Please note that your prizes and activities will not be shared between programs within our VIP network.
Welcome back to Y105 VIP
It appears that you already have an account on this site associated with . To connect your existing account just click on the account activation button below. You will maintain your existing VIP profile. After you do this, you will be able to always log in to http://y105music.com using your original account information.