Well here we are, the first release weekend of the new year. The dumping ground for everything from studio horror cast offs like the latest in the Insidious franchise to art films continuing to make the rounds as they make their way to a hopeful Oscar nomination of some sort, this is one of the year’s more interesting portions of the calendar. Sure, for every ditched genre film you get an expanding prestige picture, but you also get the chance to see some genuinely interesting, if less buzzed about, independent films from around the world.
For example, there are films like In Between. Following a fruitful run on the 2017 film festival circuit, director Maysaloun Hamoud’s feature film directing debut begins its theatrical run in New York via Film Movement, and is a superbly made and emotionally resonant look at three young women caught in the middle of traditionalism and modernity in Tel Aviv.
For example, there are films like In Between. Following a fruitful run on the 2017 film festival circuit, director Maysaloun Hamoud’s feature film directing debut begins its theatrical run in New York via Film Movement, and is a superbly made and emotionally resonant look at three young women caught in the middle of traditionalism and modernity in Tel Aviv.
- 1/5/2018
- by Joshua Brunsting
- CriterionCast
Chicago – AnnaLynne McCord is the sort of actress whose face begs to be photographed. The camera can remain on her for an indefinite amount of time and manage to capture endless fascinating nuances. As someone who has never watched an episode of the rebooted “90210” series, I hadn’t seen McCord in anything until Richard Bates Jr.’s “Excision.” Now I consider myself a fan.
In this gleefully deranged satire on the hellish confusion of adolescence, McCord plays Pauline, a sardonic teen who basks in the narcissistic splendor of her alienation. Her greasy hair and pockmarked face suggest that she never bothers to shower or bathe, though McCord’s naturally striking eyes and cheekbones still manage to make her character effortlessly watchable. When Pauline dreams about performing gruesome surgeries while making love to corpses (yep, this movie is out there), McCord casts off her ugly makeup and reveals herself to be a knockout beauty,...
In this gleefully deranged satire on the hellish confusion of adolescence, McCord plays Pauline, a sardonic teen who basks in the narcissistic splendor of her alienation. Her greasy hair and pockmarked face suggest that she never bothers to shower or bathe, though McCord’s naturally striking eyes and cheekbones still manage to make her character effortlessly watchable. When Pauline dreams about performing gruesome surgeries while making love to corpses (yep, this movie is out there), McCord casts off her ugly makeup and reveals herself to be a knockout beauty,...
- 10/31/2012
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
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