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Search resuls for: "Ty Simpkins"


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“Insidious,” whose fifth installment opened Friday, is a second-tier horror franchise — it’s not even the best James Wan franchise starring Patrick Wilson, which would be “The Conjuring” — with a few elite jump scares, including one of the best in the genre. In the original in 2010, Lorraine Lambert (Barbara Hershey) is telling her son, Josh (Wilson), about a horrible dream when a red-faced demon suddenly appears behind his head. It’s a magnificent shock because of the askew blocking, the patient misdirection of the editing and Hershey’s committed performance. In “Insidious: The Red Door,” a grim, workmanlike effort that collapses into woo-woo nonsense, Wilson makes his directorial debut, and demonstrates he grasps the importance of that jump scare, which is sketched in charcoal on paper next to his name in the opening credits. This prickly relationship is at the center of the movie, as dad drives his son to college.
Persons: it’s, James Wan, Patrick Wilson, Lorraine Lambert, Barbara Hershey, Josh, Wilson, askew, Hershey’s, Lorraine, Wilson doesn’t, Dalton, Ty Simpkins
“I’d been trying to direct a movie since 2015,” Wilson told me over coffee at a West Village bistro. “No offense, but that’s not how you deal with a problem,” Wilson chuckled. “The Red Door” confronts the trauma of that earlier film from the perspective of a father-son relationship. I asked Wilson if his sons — one is heading to college soon — send him curt one-word texts. “Nah, we have a great relationship,” said Wilson, who since 2005 has been married to the actress Dagmara Dominczyk (Karolina in “Succession”).
Persons: “ I’d, ” Wilson, , Jack Torrance, Josh retakes, , that’s, Josh, Renai, Rose Byrne, it’s, Dalton, Ty Simpkins, he’s, Wilson, curt, Dagmara Dominczyk, Karolina Locations:
CNN —The love showered on Brendan Fraser out of film festivals inflates expectations for “The Whale” wildly out of proportion, in a movie based on a play that occurs almost entirely within a lone apartment. Weighted down not by its morbidly obese protagonist but rather its stick-thin supporting players, Fraser deserves praise for his buried-under-makeup performance, but that’s not enough to keep the movie afloat. Adapted by Samuel D. Hunter from his play, “The Whale” actually derives its title from the book “Moby Dick,” although the convincing enormity of Charlie’s physique obviously provides another meaning. As poignant and heartbreaking as Charlie’s plight is, “The Whale” can’t transcend the line between theater and film. While it’s easy to root for Fraser to earn accolades, in the annual hunt for award-worthy movies, consider this another one that got away.
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