A vision lay before him: Fleet Street blanketed with snow, silent, empty, pure white, and, at the end of it, the huge and majestic form of Saint Paul's Cathedral. It was a spellbinding moment: the great thoroughfare temporarily devoid of carts and carriages, the cathedral looming blurrily out of the still-falling snowflakes a real-life snow globe.
The myth is that the murdered woman was 'a sex worker, a gangster's moll, or a movie extra yearning to become Lana Turner.' In fact, Elizabeth Short was a young woman who wanted to see more of the world than her hometown offered. She had suffered abuse from her father and dreamed of making a new life for herself in Los Angeles.
The first thing you notice about undertone is how quiet it is; not just in its audio mix, but in how it's shot - primarily steady wide shots that slowly pan across empty rooms, allowing your eyes to frantically scan for something amiss. It's an understated form of filmmaking that allows for the movie's scares to hit all that much harder.
Based on the bestselling book of the same name by Dan Simmons, it chronicles a doomed Royal Navy expedition dispatched to the Arctic in search of the fabled Northwest Passage. Under the leadership of Captains Sir John Franklin and Francis Crozier, the HMS Erebus and HMS Terror, manned with 129 crew, set sail from England in 1845. They became locked in pack ice off King William Island in the winter of 1846.
Obnoxious jewellery dealer Rodney Manderson has been killed outside the Bowery auction rooms, stabbed through the eye with the Victorian hatpin that his boss, Rose Bowery, has brandished in front of the nation on Bargain Hunt. As she discussed the pin's virtues as a deadly weapon as well as its millinerial uses, the fiercely loyal Rilke decides while feeling grateful to have skipped lunch and trying not to think of jelly to remove it before calling the police.
Until recently, "liminal spaces" were only known to architects. But on the Internet, storytellers and amateur filmmakers have morphed these ubiquitous places you pass by on errand runs into caverns of cosmic terror. Now, a new A24 film from 20-year-old filmmaker Kane Parsons is set to kick off the summer and christen it the season of liminal horror.
The timing could not be better: We have much to learn in this moment from a movement that was both explicitly antifascist and radically hopeful - and from how the not-so-antifascist Dalí broke from it. But Dreamworlds presents precious little of the historical and political context - for example, the birth of the movement out of the grotesque terrors of World War I - that would help viewers grasp the relevance of what's in front of them.
Glimpse them chatting in a restaurant or posing on Instagram, and you might think they have it all. The pair live in London but often travel, drawing the eyes of other guests, their skin glowing, their limbs artfully at ease. She writes affirmations on hotel stationery; he claims to taste notes of bark and tobacco in his chianti. As Sean Gilbert's dark, observant debut opens in Istanbul, this apparently perfect couple bicker and sweat, for secrets lurk behind their facade and one of them might be murder.
Protagonist Edna Pontellier, heartbroken and hopeless, swims out into the Gulf of Mexico until her body tires and the water swallows her up. The act is impossibly sad, but it also feels as if it's not about itself. Or rather, it expresses something about the act, choice, of suicide that so often remains out of focus: how hard our world is to live in.
After spotting that Eli's rash guard conceals a red, flaky skin disorder, the boys have concluded that he has the titular plague, a contagious disease that affects social standing as much as it does dermatological well-being. If anyone ever touches him, they must thoroughly wash themselves before they're considered full-blown infected. Even something as innocent as Eli sitting at the same lunch table sends his teammates running and screaming.
In Emily Brontë's 1847 novel Wuthering Heights, the moors of Yorkshire are wet with rain, fog-and symbolism. The rugged landscape separating the titular home from the neighboring estate, Thrushcross Grange, represents danger and harshness, but also a kind of wild freedom for the star-crossed lovers Catherine and Heathcliff, who explore the land together in childhood and spend their adult lives yearning for each other.
Boris Karloff stands tall as one of film history's most iconic performers, particularly within the horror genre. Foremost known for portraying some of the most iconic monsters in film history, from his work as Frankenstein's Monster in Frankenstein, Imhotep in The Mummy, or voicing The Grinch himself, Karloff had a few distinctive attributes that made him one of the most memorable stars of the era.
