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What if Mom’s Not to Blame?
  + stars: | 2024-02-27 | by ( Mark Harris | Keita Morimoto | ) www.nytimes.com   time to read: +3 min
The past year has brought an exceptionally varied and thematically rich crop of movies exploring men and their — to use the proper scientific term — mommy issues. By the end of most of them, blood is on the floor, and the collateral damage is steep. Men who couldn’t, or worse, didn’t want to, were portrayed as marionettes tied to and practically strangled by their mothers’ apron strings. “I’ve been talking to this psychiatrist about my mother for two years now,” his character says in “Pillow Talk” (1959), adding, “It’s perfectly healthy. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.
Persons: Beau, , who’s, Freud, Robert Walker’s simpering, mommy, Anthony Perkins, Norman Bates, Marion Crane, Janet Leigh, Tony Randall, Doris, “ I’ve Organizations: Hudson, The
But sometimes — as in Ethan Coen’s and Tricia Cooke’s wonderful “Drive-Away Dolls” — they’re more adventurous. Noah Berlatsky Noah BerlatskyCoen, best known for his collaborations with his brother Joel, co-wrote and co-directed “Drive-Away Dolls” with his wife and queer filmmaker, Cooke. Jamie (played by Margaret Qualley) and Marian (played by Geraldine Viswanathan) are pictured in "Drive-Away Dolls." Margaret Qualley and Geraldine Viswanathan co-star in Ethan Coen's and Tricia Cooke's latest film, "Drive-Away Dolls." “Drive-Away Dolls” tells the audience watching through that fence or otherwise, that queer looking, queer film, queer art and queer people are all a valuable, fun and worthy heist.
Persons: Noah Berlatsky, George Clooney, Ethan Coen’s, Tricia Cooke’s, Noah Berlatsky Noah Berlatsky Coen, Joel, Cooke, Jamie, Margaret Qualley, Beanie Feldstein, Marian, Geraldine Viswanathan, Marian’s, Gary Channel, Matt Damon, , Coen, Tricia, Sen, don’t, Ron DeSantis, DeSantis, , they’ve, Ethan Coen's, Tricia Cooke's, buttoned, John McNaughton’s, Norman, Organizations: CNN, Texas, Channel, Florida Gov Locations: Chicago, Tallahassee, Florida, American, Florida —, Marion, Hitchcock’s
NEW YORK (AP) — Errol Morris has just sat down with a reporter when his wife calls. The film, which opens Friday in select theaters and on Apple TV+, is based on le Carré's 2016 memoir of the same name. AP: The central, mysterious metaphor of le Carré's, “The Pigeon Tunnel" — a tunnel that funnels pigeons to shotgun-wielding men — looms throughout the film. Morris: I’ve often compared the writing to a Kafka parable, except John le Carré wrote it. I say to (le Carré) at some point: “History is chaos.” And he agrees, “History is chaos.”
Persons: — Errol Morris, “ I’m, ” Morris, , Morris, John le Carré, , “ Tinker, le, David Cornwell, It's, Ed Gein, Robert Bloch’s, Alfred Hitchcock’s, … Morris, It’s, Ed Gein’s, Didn’t Freud, I’ve, Robert McNamara, vindicating, , Saul Kripke, David, Steve, Bannon Organizations: Apple, Research Locations: British, Waushara County , Wisconsin, Morris
Halloween in New York: Things to Do in October
  + stars: | 2023-09-30 | by ( Erik Piepenburg | ) www.nytimes.com   time to read: +2 min
A Halloween without horror movies is like a Christmas without Hallmark movies about big-city women falling for small-town bookstore owners. New scary films in theaters now are the Agatha Christie-inspired “A Haunting in Venice”; the twisted sister tale “The Nun II”; and “Saw X,” the tenth film in the franchise. For a sneak peek at what horror fans will be drooling over next, check out the Brooklyn Horror Film Festival (Oct. 12-19), at Nitehawk Cinema’s Williamsburg and Prospect Park locations. Stine’s horror books for teenagers (Disney+, Oct. 13). Back to scare again are new seasons of the killer doll show “Chucky” (Peacock, Oct. 4) and the anthology series “Creepshow” (Shudder, Oct. 13).
Persons: Agatha Christie, Hitchcock’s Marlene Dietrich, , moviemaking Adams, “ Michelle, Usher, ” Mike Flanagan’s, Edgar Allan Poe, Chucky ”, John, Ed Gein, Organizations: Hallmark, Brooklyn Horror Film, MGM Locations: Venice, Nitehawk, Williamsburg, Prospect, California, Texas
This month the spotlight is on South Korean crime drama “Decision To Leave.”CNN —A language barrier lies at the heart of swoon-worthy Korean police procedural “Decision To Leave.” Hae-joon (Park Hae-il) is a polite Busan cop, Seo-rae (Tang Wei), the Chinese wife of a dead businessman. Park Hae-il and Tang Wei as a detective and suspect drawn together by the death of a mountain climber. The interview: Writer-director Park Chan-wookPark Chan-wook attends the "Decision To Leave" UK Premiere during the 66th BFI London Film Festival on October 14, 2022. Gareth Cattermole/Getty ImagesThe Korean master told CNN he wanted to adhere to then subvert film noir in “Decision To Leave,” playing with tropes, structure and the male gaze. For more details on his “very meta approach,” why he cast Tang Wei and why “Vertigo” was far from his mind, read the full interview.
Director Park is no stranger to the slippery nature of language barriers. In the film, Korean detective Hae-joon (Park Hae-il) is probing the death of a climber who fell from a mountaintop on the outskirts of Busan. Director Park Chan-wook says he had a longstanding desire to cast the Chinese star in one of his films. The first part is “full-on male gaze,” Hae-joon “steal(ing) the look.” He inserts himself into Seo-rae’s life, even fantasizing standing in her living room, observing private moments. Tang Wei as suspect Seo-rae and Park Hael-il as detective Hae-joon in "Decision To Leave."
“It’s fascinating how people seek queerness — and where they seek queerness,” Fuller added. Murnau’s “Faust” and “Nosferatu,” such moments of levity keep viewers engaged while they’re soaking up early Hollywood’s rich queer history. “Whether you’re ideologically queer or sexually queer, you might relate to the monster’s narrative, because you, too, have felt ‘outsidered’ or villainized in some way.” Bryan fuller, 'queer for fear' executive producer“The Dracula costume kit is basically drag. So this, to me, is the experience of being a gay man.”As Alaska’s assessment demonstrates, “Queer for Fear” isn’t interested in just exploring how horror has provided a haven for queer creatives. Because of the Hays Code, LGBTQ creators and those, like Hitchcock, who wanted to include those themes had to do so through subtext, which counterintuitively gave birth to some of the most essential queer horror ever made.
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