The film has more than a handful of genuinely funny moments, many of which arise from Arias’s deadpan performance and Thomas Middleditch’s dumb-cop routine. “Jungleland” is exhilarating for the reason that all legendary rock songs are, rendering small details on an epic scale, allowing us to feel as if our daydreams are the material for either grand transcendence or Greek tragedy. Cast: Laura Dern, Mary Kay Place, Treat Williams, Elizabeth Berridge, Levon Helm, Margaret Welsh Director: Joyce Chopra Screenwriter: Tom Cole Distributor: Janus Films Running Time: 92 min Rating: PG-13 Year: 1985. He is best known for writing the 2013 coming-of-age film The Kings of Summer. Please view our rules and wikis before posting. Frank: You're right, it's a classic kidnapping. But the film can only get so far on Robertson’s performance and its spectator’s protective instincts. On Metacritic, the film has a weighted average score of 61 out of 100, based on 33 critics, indicating "generally favorable reviews". Adam Wingard leans real heavy on 1980s—or 1980s-sounding—music in the grandly, outwardly wounded key of Joy Division, and he accompanies the music with visual sequences that sometimes appear to stop in their tracks for the sake of absorbing the soundtrack. Chris Galletta (born 1981) is an American screenwriter. The Weboys aren’t people so much as armed obstacles to the Blackledges’ family reunion: Except for the pungent Blanche and lewd Uncle Bill, played with over-the-top menace by Jeffrey Donovan, the rest of the gang blends together as nondescript thugs. Hooper’s Grand Guignol flourishes are occasionally evident, particularly when a paranormal investigator pulls his own face off, but the technical proficiency is all Spielberg’s, as is the abiding interest in families and the influences (supernatural or otherwise) that disrupt them. Kingpin comes to haunt Jungleland, as the Farrellys mined this premise for more suspense and pathos than Winkler does while simultaneously ribbing the ridiculousness of such a setup. Jake Cole, Introverted nice guy Joel (Jim Carrey) hears of an experimental procedure to erase troubling memories, and dives right in when his impulsive girlfriend, Clementine (Kate Winslet), washes her brain clean of their love-shattered relationship. Oliver communicates with others using a smartphone app that offers him words and phrases, rather than letters, to choose from. キングス・オブ・サマー The Kings of Summer 監督 ジョーダン・ヴォート=ロバーツ 脚本 クリス・ギャレッタ 製作 テイラー・デヴィッドソン ピーター・サラフ ジョン・ホッジェズ 製作総指揮 ジョーダン・ヴォート=ロバーツ リチャード・ロスフェルド The primitiveness of the animation paradoxically suggests the enormity of loss, with the gradually dying bird embodying the extinguishing of Elin and Tobias’s love. Based on screenwriter Isa Mazzei’s own experiences as a cam model, the film is neither plainly sex positive nor outright cautionary in its depiction of Alice (Madeline Brewer), an up-and-coming streamer whose account is hacked and stolen by someone appearing to be her doppelgänger. The characters in those other films feel like human beings, while Elin and Tobias are less surprising automatons stuck in a vice of repetition that mirrors the process of recovery and nothing else. When the big confrontation comes, Come Play has already proven, despite its monster’s prodigious chompers, to be rather toothless. A disproportionately tall, spindly, and perpetually moist gray something or other, Larry is a gene splice of the Babadook and the monsters from A Quiet Place. Eden slashes her wrists in the kitchen sink, the sounds of children playing emanate from the empty yard, inane talk of the Internet’s funny cats and penguins becomes white noise against Will’s screaming: The question of whether or not to trust his sense of foreboding is perhaps not so open as director Karyn Kusama and company might wish, but against the terrors of continuing on after losing a child, the issue of narrative suspense is almost immaterial. This preoccupation aligns Bertino with another rising American horror auteur, Mike Flanagan, though the former is growing more ruthless and austere with each production while the latter’s recent output is mechanically sentimental. I was wondering if any of you fine human beings had Chris Galletta's script to 2013's "The Kings of Summer" (might be titled "Toy's House", the original name) that you would be willing to link to me? It’s hard not to be concerned about a particularly vulnerable child’s welfare, and Robertson’s performance as Oliver impresses, conveying the boy’s sensitive and perceptive nature without his ever uttering a word. Looking back on it with the same sense of from-the-future assurance that informed the movie’s own creation, Back to the Future is a logistically beautiful but almost inhumanly perfect confluence of internal logic and external forces. The audience knows early on that something bad is present on this farm and that it’s going to assail this family without mercy. In the end, theme takes too much priority over threatening atmosphere in Come Play. Script Sharing Close 8 Posted by u/insteadofessays 5 years ago Archived [Script Request] The Kings of Summer (2013) Script Sharing thanks! Like the home Joe, Patrick, and Biaggio build for themselves, The Kings of Summer is sloppy, the product of ambitious amateurs, but this isn’t to say that it doesn’t have its charms. The Kings of Summer (2013) cast and crew credits, including actors, actresses, directors, writers and more. The Dark and the Wicked tries so hard to transcend its genre that it feels starchy, over-considered, emotionally freeze-dried. Kings of Summer: Sad it Ended So Soon By Meredith Alloway June 3, 2013 No Comments Director Jordan Vogt-Roberts has been on the indie comedy radar for a while and he’s been on mine since his short Successful Alcoholics back in 2010. If the anime series’s finale was a psychological breakthrough, End of Evangelion is the relapse, an implosion of self-annihilating revulsion and anger rendered in cosmic terms. Rookie Cop: Ah, sarcasm. Despite the signs—the difficult-to-start vehicle, the fallen bridge—no one else believes the woods are alive. Laid up in bed connected to tubes with healthcare workers circling him, he resembles someone who’s suffering from cancer or succumbing to dementia—a suggestion that connects The Dark and the Wicked to other recent horror movies that have utilized supernatural flourishes to examine familial death and diminishment, including Ari Aster’s Hereditary and Natalie Erika James’s Relic. The Kings of Summer registers more as a collection of cynically hip comedy sketches detailed with faux-trendy touches, exemplified by the mustache Joe dons about halfway through the film. Stanley and Lion must hit the road to California, where Lion will of course compete in a make-or-break tournament, and they’re stuck with a young woman, Sky (Jessica Barden), who’s to be delivered to a crime lord, Yates (John Cullum). While the film doesn’t entirely stick its murderous finale, no one who hears those scarifying final lines of dialogue will soon forget them. Complementing Jane’s portrait of coiled wrath, Molly Parker physicalizes the fear that informs every minute wrinkle of Arlette’s relationship with her husband, which the character attempts to paper over with bravado, inadvertently sealing her doom. Nothing hinders surrealism more than the sense that its creators are actively working for it, though Koko-di Koko-da is nonetheless difficult to dismiss. Triggered aims for satire, namely at the expense of millennials, Gen Zers, and woke culture. It’s an elusive freak-out in the key of a Val Lewton production, with a lonely western-like atmosphere that reflects the protagonists’ disappointments. Kiernan Shipka, Lucy Boynton, Emma Roberts, Lauren Holly, and James Remar are poignant in their minimalist roles, and writer-director Oz Perkins arranges their characters in a cleverly constructed narrative prism that simultaneously dramatizes violence and its aftermath in an endless chain reaction of perpetual cause and effect. (inside the building four men have apprehended a terrorist leader and he is tied to a chair.) He announces that they are going to build a house there, free from responsibility and parents. Biaggio: Do you know we've been walking for half a mile? 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Her is about “the modern condition,” but not, importantly, in the strictly satirical sense: It tells us less about how we live than how we love. For one, why would a child’s toy beckon a nightmare world? The film’s singular ambition is to immerse the viewer in the thick of a frenzied drive toward the promise of a lover’s touch and a few more minutes of life. 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