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Cherry Tom Holland And Russo Brothers Movie Trailer

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“Sometimes, I feel like I’ve already seen everything that’s going to happen…”

When we think of Tom Holland, we think of Spider-Man. He’s Spidey. They are one in the same. Sweet, sweet Spidey baby boy. So small, so innocent, so superhero.

HOWEVER, today we got our first look at Cherry — Holland’s newest project and fourth team-up with the Russo Brothers — and, WHEW BUDDY, Y’ALL. Stuff just got real serious, real quick. Check out the trailer:

View this video on YouTube


Apple TV / Via youtube.com

The story — which is based on the novel of the same name by Nico Walker, which, in turn, is based on Walker’s own life — follows the story of a young man’s (Holland) spiral after he drops out of college and enlists the Army.

Once out of the Army, the young man finds himself down a path of opioid addiction, which in turn leads — eventually — to bank robbery.

It’s for sure a departure from the typical fare we expect from Holland, which is exciting in itself, and has even been hyped as an “Oscar-worthy performance.” YOU GO, TOM! Give! Us! Range!

This film is also the Russo Brothers’ first directing effort since Avengers: Endgame, and they’ve even described the project as “the most personal film” they’ve ever made.

Cherry is the most personal film we have made. The city. The people. The story. Starring @TomHolland1996 and @CiaraBravo. #Cherry is in theaters on February 26th and on @AppleTV March 12th.

And, stylistically, the film looks STUNNING. The action, the romance, the cinematography, the emotion, the color RED. Incredible! Take my money now!

So, yeah, there ya have it! Be sure to check out Cherry when it hits Apple TV+ March 12, 2021!

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Are You More Like Wanda Or Vision?

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Which half of this ~unusual couple~ are you?


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The Masque of the Red Death review – horribly apt Poe adaptation | Film

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Roger Corman’s 1964 movie The Masque of the Red Death is taken from Edgar Allan Poe’s eerie tale from the medieval mist, about a plague closing in on the castle of a cruel and wealthy sensualist. Disease is the implacable god. It’s a horribly appropriate moment for this film’s reappearance.

This is an expressionist horror-ballet, extravagantly shot by cinematographer Nicolas Roeg, and for all its theatricality and Grand Guignol, there is really nothing absurd in it. In fact, Corman’s formal artistry and conviction on a limited budget look more impressive than ever, and with his iconic Poe adaptations he did more than anyone in academe to establish the author’s position in the literary canon. That disturbing red-clad figure, and the villain’s horror of the colour red, are surely a premonition of Roeg’s later masterpiece Don’t Look Now, and the mysterious cowled figure and final apocalyptic procession make it almost an indie-pulp American equivalent of Ingmar Bergman.

Sonorous Vincent Price plays Prince Prospero, an Italian nobleman with the power of life and death over the poor villagers who are already terrorised by the “red death” pestilence, foretold or caused by a mysterious figure in a red cloak who sits in the bleak forest, his back against a gnarled tree, impassively dealing out tarot cards. On a vicious whim, Prospero orders a beautiful, pious peasant girl called Francesca (Jane Asher), together with her betrothed Gino (David Weston) and father Ludovico (Nigel Green), to be brought back to his castle, where he is preparing to host a magnificent masquerade ball for all his cringing courtier-sycophants, including the resentful Alfredo (Patrick Magee). To Francesca’s horror, Prospero reveals that he and his favoured mistress Juliana (Hazel Court) are satanists, and that this gruesome festival will be an orgy of indulgence climactically offered up to the evil one, in the very midst of poverty and sickness.

In fact, screenwriters Charles Beaumont and R Wright Campbell drew on other Poe stories, including Hop-Frog, about a person with dwarfism employed as a jester and humiliated by the king. In this movie, Hop Toad (Skip Martin) is a dwarf jester who is required to perform a deeply strange dance for the assembled jeering aristocrats at Prospero’s hideous court with his love, Esmeralda (Verina Greenlaw) – and they are then abused and insulted. It really is one of the weirdest things about a captivatingly weird film.

The colour scheme reveals itself like a Dulux sample chart from hell, as characters walk through rooms in Prospero’s castle that are each decorated in one colour – a very bad trip, like the ending of 2001. The “yellow” room, we learn, was used as a sadistic prison by Prospero’s father for one of his enemies and, on his release, the man could not bear to look at the sun. The entire film, in fact, seems to take place at night, or in that artificial day-for-night twilight I associate with Hammer vampire movies. The Masque of the Red Death moves with a sinuous, unselfconscious elegance.

• The Masque of the Red Death is released on digital platforms, Blu-ray and DVD on 25 January.


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Tokyo Dragon Chef review – ramen-themed yakuza musical comedy | Film

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Cult Japanese filmmaker Yoshihiro Nishimura, who started off doing special effects before moving into the director’s chair, is best known for pulpy, action-horror fare with self-explanatory titles such as Mutant Girls Squad and Tokyo Gore Police, as well as the more enigmatically monikered Meatball Machine Kodoku.

Tokyo Dragon Chef, I’m assuming, lies tonally between the one about gore police and the one about meatball machines given it’s about a pair of ageing yakuza thugs, Ryu (Yasukaze Motomiya) and Tatsu (Yoshiyuki Yamaguchi), who decide to open a ramen restaurant. Their speciality, which does indeed look darn tasty, is a recipe Tatsu honed while doing time and working in the prison’s mess hall, a kind of ma po tofu with ramen.

Soon, their tiny venue is drawing rave reviews from YouTubers and a pretty schoolgirl (played by pop star Rinne Yoshida) comes round to sing songs about ramen because – of course – this is also a musical. But then another pair of rival ex-yakuza types (the joke is that all four actors used to play gangsters in straighter films back in the day) start up a food truck business selling ramen across the street. What’s more, they’ve hired a buxom, pink-haired creature in a latex bodysuit (Saiko Yatsuhashi) who may not actually be human and somehow never feels the strain of the enormous quantities of food she can eat.

The Japanese dialogue is probably much funnier than the subtitles make it seem, but it’s hard not to suspect that even native speakers might find the film’s concept more amusing than its execution. You have probably seen TikTok videos with more budget than this film. But it’s playful and brisk, and what’s not to love about any movie that has baddies who go around with giant eyeball masks on their heads, just like the immortal experimental punk band the Residents?

• Tokyo Dragon Chef is available on digital platforms from 25 January.


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