#NIGHT CALL FILM COMPLET SERIES#
Alex Pritz, 2022)Įasy to forget among all the “Star Wars” and Marvel series is that Disney+ also serves as National Geographic’s streaming home, which means that some of the world’s most urgent and probing new documentaries are hiding on the platform in plain sight - right behind the latest episode of “Andor.” Case in point: Alex Pritz’s “The Territory,” which was made in close collaboration with Brazil’s Uru-eu-wau-wau tribe and premiered at Sundance before its theatrical run last August. A long winter sound becomes a wild gorefest as the flesh-hungry newcomer finds himself challenged by a stoic Guy Pearce, whose hero soldier is wrestling with the definition of courage in a stolen country that only seems to reward brute strength. soldiers who start cannibalizing each other at a remote Sierra Nevada outpost during the Mexican-American War - an idea that gets into their heads after a demented Robert Carlyle shows up amid whispers of a Wendigo. Miller” and “Dead Man,” and then settling over the Tatra Mountains in Slovakia, where the late British filmmaker Antonia Bird made her 1999 masterpiece “Ravenous.”Ī wonderful cult favorite that extends the “eat or be eaten” ethos of manifest destiny in spectacularly literal fashion, the ultra-violent horror-comedy is the delightful story of some U.S. The series begins with mid-century American classics like “The Secret of Convict Lake” and Sam Peckinpah’s “Ride the High Country” before hopping over to Italy for Sergio Corbucci’s “The Great Silence,” drifting back for “McCabe & Mrs.
The Criterion Channel closes out the year on a major high, complete with a sprawling retrospective of screwball comedies (titles range from ’30s masterpieces like “The Front Page” and “It Happened One Night” to lesser-known ’50s offerings like “Rhubarb” and Lou Breslow’s “You Never Can Tell”), a tribute to dissident Iranian filmmaker Jafar Panahi (“Mirror,” “The White Balloon”), and - timed to the World Cup - a series of soccer movies that brings the December slate together, as programmer Ashley Clark has ensured that his international look at The Beautiful Game includes a screwball twist (“Shaolin Soccer”) and a nod to Panahi (the brilliant “Offside”) among its more unclassifiable choices (“Infinite Football” and “Diamantino”).īut as the weather outside turns frightful, I can’t help but feel especially warmed by the Channel’s “Snow Westerns” retrospective, which pays tribute to one of the most rewarding of Hollywood sub-genres, while also acknowledging how it flurried into wildly unexpected new forms as it swept across the world and back again. Likely to be remembered as Smith’s first post-Slap project, so far as it’s remembered at all, “Emancipation” is nevertheless Apple’s splashiest release of the year and a preview of the epic fare that subscribers can expect from “Napoleon” and “Killers of the Flower Moon.”
#NIGHT CALL FILM COMPLET MOVIE#
That’s a noble ambition for a movie to have, but it’s not an ambition this glorified B movie with little gold delusions of grandeur was built to achieve. The unrelentingly brutal film that Antoine Fuqua has made about him aspires to have the same effect on modern audiences, whose imaginations might struggle to comprehend the most visceral sins of the 19th century, and/or recognize the very real perils that America’s unresolved prejudices continue to pose as we move deeper into the 21st. “Emancipation” is based on the true story of an enslaved man (Will Smith) whose keloid-scarred image was captured on a series of carte de visite photographs that were taken at a Union camp in Baton Rouge after he escaped from a plantation some 40 miles away and survived a 10-day trek across deadly swampland the sight of his mutilated back was then used to help the abolitionist movement convey the atrocities of slavery to a disbelieving world.
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