PC gamers already recently had the chance to try Halo Infinite with a series of technical previews, but what PCs testers have been playing so far wasn’t the whole story. Today, Microsoft detailed what to expect from the PC version ... Read more
Dognappers are evil, however, I doubt that this woman was really serving any good purpose by wildly spraying bullets all over what appears to be a residential neighborhood.
Two of the three dognappers have been apprehended, however, the puppies are still missing. — Read the rest
October 28, 2021 The Nvidia RTX 3080 GeForce Now subscription is now available for everyone to pre-order, but comes in limited quantities.
Nvidia proved that just about anyone can run the Crysis Remastered Trilogy no matter whether they're using a PC, Mac, or smartphone thanks to cloud gaming, but it's not resting on its laurels. As of today, you'll notice a brand new top-tier membership that lets you exclusively stream from Nvidia's new supercomputer, which packs more than 1,000 RTX 3080 graphics cards. At 35 shader teraflops apiece, that's almost three times the performance of the Xbox Series X and a total of 39 petaflops to tap into.
While the GPU takes centre stage here, Nvidia pairs its flagship RTX cards with AMD Threadripper Pro gaming CPUs to make it a computational powerhouse. Naturally, this translates to a whole heap of performance improvements for RTX 3080 GeForce Now subscribers.
For reference, the Priority membership lets you play games at 1080p resolution and 60fps for six-hour stints. The new subscription bumps this up to 1440p at 120fps on gaming PCs and iMacs, 1600p at 120fps on Macbooks, and even 4K at 60fps with high-dynamic range (HDR) on Nvidia Shield TV. You might see the latter appear on other devices later down the line, but it will only be on Nvidia's set top box at launch. You'll even get to game for eight hours per session, although we strongly recommend taking regular breaks anyway.
A desert planet. A prophesied messiah. A tyrannical empire. Giant bugs.
You may think I'm describing "Dune," the new sci-fi epic directed by Denis Villeneuve. Or your mind might even go to "Star Wars," itself a beloved sci-fi saga inspired by the 1965 novel by Frank Herbert. But the above also applies to "Nausicaa of the Valley of the Wind," the masterful 1984 animated film written and directed by Hayao Miyazaki.
Set in a future post-apocalyptic world where a devastating war has reduced the Earth into barren wastelands and toxic forests, "Nausicaa of the Valley of the Wind" follows the titular young warrior as she tries to prevent warring kingdoms from destroying the mutant giant insects that live within the uninhabitable jungles.
Though Miyazaki has never explicitly cited "Dune" as one of the inspirations for "Nausicaa" — other Western genre classics like Ursula K. Le Guin's "Earthsea," Brian Aldiss's "Hothouse," Isaac Asimov's "Nightfall," and J. R. R. Tolkien's "The Lord of the Rings" have been mentioned by the anime auteur — the parallels are obvious. Both, after all, are a messiah story set on a barren planet in which humans live uncomfortably alongside giant insects that may attack them at a moment's notice. It's what makes "Nausicaa" the perfect movie to watch ahead of the release of Villeneuve's "Dune," perhaps even more so than David Lynch's infamous 1984 adaptation.
Nausicaa Is The Perfect Companion Watch To Dune
Nausicaa is a warrior princess of the small kingdom of the Valley of the Wind, which borders the Toxic Jungle, the poisonous forests that were a remnant of the devastating ancient wars and that harbor giant, deadly insects known as the Ohmu. Just stepping into the forests is toxic to humans thanks to the poisonous spores in the air and the thousands of angry mutant insects, but Nausicaa has found a way to communicate with the creatures that suggests she is the long-prophesied savior of the world.
But an invading kingdom seeks to use an ancient weapon to eradicate the jungle and destroy the Ohmu in the process. What they don't realize, and what Nausicaa has discovered, is that the Ohmu are a crucial part of the ecosystem, and that the toxic forests are actually the Earth's way of cleansing the centuries of human devastation.
Like "Nausicaa," "Dune" centers on a would-be messiah (in the case of the upcoming Villeneuve film, Timothée Chalamet's Paul Atreides) who learns to tame the enormous sandworms that inhabit the desert planet of Arrakis, and who are revealed to play a pivotal part in the creation of that precious resource known as the "spice" mélange, which the ruling Imperium has harnessed to fold space. While Herbert's story is set in a distant future where humanity has expanded throughout the galaxy and spans planets, it also heavily features an invading imperial force whom Paul must fight with the help of the native Fremen of Arrakis. And if we're going to include more visual similarities, in Villeneuve's "Dune," the insect-like helicopters they fly even look similar to the ones in "Nausicaa."
The Spirit Of Dune
At face value, "Nausicaa" is not exactly beat-for-beat the plot of Herbert's vastly more dense "Dune" saga. Rather than sprawling centuries with thousands lost to bloodshed, Miyazaki's film takes place on a single planet and ends on a more hopeful note, with a messiah whose compassion manages to bring an end to the genocide. (Though if you get into the original graphic novels that Miyazaki wrote before his feature film, "Nausicaa" rivals "Dune" in complexity and grim overtures.) While the messiah narrative figures heavily into "Part One" of "Dune," and (hopefully) its sequel, "Dune" doesn't necessarily offer such easy answers. (But again, read Miyazaki's much darker, thornier graphic novels to get a sense of how "Nausicaa" doesn't either.)
Perhaps the largest difference between the two is that "Nausicaa" is primarily an ecological sci-fi tale compared to the economic sci-fi saga of "Dune," which charts the rise and fall of empires via the revolts of the oppressed over a precious resource. As is the case with all Miyazaki films, "Nausicaa" is much more interested in what destruction humanity has wrought on the Earth than the destruction they wreak upon themselves.
"Dune" remains the most daunting "blockbuster" franchises. Several filmmakers have tried and failed to bring Frank Herbert's vision to the big screen, including Alejandro Jodorowsky and David Lynch. But instead of looking to slavishly bring Herbert's vision to life, perhaps they should have looked overseas to Japan, where Miyazaki had already brought the spirit of "Dune" to the screen with "Nausicaa of the Valley of the Wind."
"Nausicaa of the Valley of the Wind" is now streaming on HBO Max.
The "Chucky" TV series just gave us something we never knew we needed until now: Chucky wearing a Hello Kitty mask. Chucky dons the mask to blend in during Halloween in the latest episode of the SYFY series. And if you're still waiting to check the show out, you can watch that second episode – titled "Give Me Something Good to Eat" – online, for free, right now. The Hello Kitty moment is a brief, but memorable, moment, with Chucky strolling along amongst other trick or treaters. "Surely, someone will notice this is a walking doll," you might think. But no. That's not how things work in the world of "Chucky." So put on your Good Guy overalls, comb your hair to the side, and watch the full Halloween episode of "Chucky" below.
Chucky Episode 2
"Child's Play" is my all-time favorite horror franchise – yes, really – so I was excited for "Chucky," the new SYFY series set within the continuity of the original movies (let's all ignore that remake, shall we?). That said, the first four episodes of the show, which I've seen, left me a little cold. Don't get me wrong – I'm happy to have Chucky creator Don Mancini still working in this world, and it's great to have Brad Dourif back as the voice of Chucky. But there's just something off about the show for me – but I will definitely be sticking with it in the hopes it gets better.
For now, though, you can watch the second episode of the show for free above. The second episode is set during Halloween, which gives Chucky a chance to wear a Hello Kitty mask – and it's adorable. Chucky also has some fun with a razor blade in an apple, because of course he does. The next episode of the show airs on October 26, 2021, so you should probably catch-up now! And here's the show's synopsis for good measure.
Chucky Synopsis
Here's the "Chucky" synopsis:
In the new CHUCKY television series, an idyllic American town is thrown into chaos after a vintage 'Good Guy' doll turns up at a suburban yard sale. Soon, everyone must grapple with a series of horrifying murders that begin to expose the town's deep hypocrisies and hidden secrets. Meanwhile, friends and foes from Chucky's past creep back into his world and threaten to expose the truth behind his mysterious origins as a seemingly ordinary child who somehow became this notorious monster. CHUCKY is produced by UCP and executive produced by creator Don Mancini, David Kirschner, Nick Antosca and Alex Hedlund. Harley Peyton will also serve as executive producer. Mancini, who penned the film franchise, wrote the television adaptation, will direct the first episode and serves as showrunner.
Nvidia's new RTX 3080 plan for GeForce Now is probably the biggest upgrade for its cloud-streaming service since it turned on RTX ray tracing for subscribers over two years ago. From a report: The new plan is targeted at more traditional gamers for whom 60fps simply doesn't cut it, and it'll cost $100 for every six months you're signed up. In addition to the RTX ray tracing of the Priority plan, it offers 8-hour sessions, up to 1440p and 120fps gaming on PC and Mac (1600p on MacBooks), 4K HDR 60fps with 7.1 surround audio on Nvidia Shield (using DLSS) and up to 120fps on select Android devices. On iOS, GeForce Now has to use Safari rather than a dedicated app, which likely either can't handle or is too locked down to hit the higher frame rates.) According to the company, MacBooks are the second most popular device it sees used by the service, which isn't surprising given how poor the Mac's gaming is compared to PCs. The new MacBook Pro models, with their 120Hz displays, will be able to take advantage of the higher resolution and frame rates.
Wherein we discuss karate, Metroid Dread, Animal Crossing: New Horizons, Nintendo Switch Online, inverted controls, Final Fantasy XIV, Back 4 Blood, Squid Game, Halloween Kills, the weird world of William Shatner, Chucky, and Buck Bumble. Starring Ryan Scott, Adam Fitch, Justin Haywald, and Ryan Higgins, with special guest Josh Epstein.
A friendship ritual gone awry transports high school student Ayumi Shinozaki and her friends to an alternate reality version of a tragedy-stricken institution that stood on the site of their own school long ago. As the vengeful spirits of elementary school students threaten their lives and their sanity, their only hope of survival–much less escape–is to uncover the chilling details surrounding the murders of those trapped before them.
Sir Anthony Hopkins won his second Oscar for Best Actor this year for his performance in "The Father," but it might never have happened had another knight of the Most Excellent Order of the British Empire kept him from retiring ... with a role in a Marvel movie. That's right: it was Sir Kenneth Branagh, the director of the first "Thor" film, who convinced Hopkins not to retire by having him play Odin the Allfather.
This is just one of the behind-the-scenes tidbits from the production history of the Marvel Cinematic Universe that is revealed in the new book, "The Story of Marvel Studios." In the book, Hopkins himself cites Branagh and his infectious enthusiasm as the reason he didn't leave show business. He says:
"Ken Branagh gave me back the chops to work. I was gonna give it up, really. But, you see, he won't let you do that. Working with Ken was quite an injection of new energy into my life. He seems to have that same infectious quality on everybody in the crew. His enthusiasm, his attitude, is so positive that he brings out the best in everybody."
"He Could Convey A Kingly Responsibility"
Hopkins has had a long acting career, but as a true-blue movie star, he was something of a late bloomer. He won his first Oscar at the age of 54 for playing the iconic role of Hannibal Lecter in "The Silence of the Lambs." When Thor was first released in May 2011, he was already 73, but since then, he's had other high-profile roles such as Pope Benedict in "The Two Popes" (for which he also received an Oscar nomination) and Robert Ford, the co-founder of the eponymous theme park in HBO's "Westworld."
Branagh had a background in Shakespearean film adaptions like "Henry V" and "Hamlet" before he came to the MCU. For him, it sounds like there was no better choice to play Odin than an actor with Hopkins' supreme gravitas. In the book, he's quoted as saying:
"Anthony brought a world of depth, intelligence, and feeling to Odin that set up the possibility of a really affecting family drama. He can command, but he can also be very personable. His human qualities kept the dynamic powerful, but not overwrought. He could convey a kingly responsibility and still make you feel that he loved both his errant sons."
Of all the Phase One MCU films, "Thor" is arguably the most "out there" in that it involves gods from Norse mythology. The movie tried to keep itself grounded, applying the Arthur C. Clarke rule, "Any sufficiently advanced technology is indistinguishable from magic." However, the performances of seasoned thespians like Hopkins are also a big part of what kept it anchored to some semblance of reality even as it costumed people in gold space armor.
"The Story of Marvel Studios" is in bookstores now.
A new Get Rich Slowly subscriber emailed me yesterday to alert me of two problems.
First, all of the free resources I share on Google Drive have magically switched from publicly-available to private.
Second, the automated email sequence for new readers is broken (which means that folks aren't receiving The Money Boss Manifesto).
Fixing the email sequence will take some work. It wouldn't take much effort to make it functional again, but while I'm in there mucking around, I might as well make a pass to revise it. The info and examples are five years old. (Meanwhile, the current version of The Money Boss Manifesto can be downloaded here.)
Fixing the shared documents on Google Drive was easy, though. They should once again be publicly viewable. Please let me know if they're not.
The GRS file vault contains a whole host of free resources that I've gathered over the years. Some of those resources are from me, but most are from other folks. Everything in the file vault is free and legal to share.
What kind of cool stuff can you find in the Get Rich Slowly file vault? Here's some of what's currently available.
A tiny selection of public-domain personal finance comics. Right now, this area contains only old Keeping up with the Joneses strips. Someday, I'll add more stuff.
The Get Rich Slowly file vault also contains a handful of “GRS Originals”, documents that I've created over the years to share with various audiences. These include:
The Money Boss Manifesto, the 87-page ebook that summarizes the Get Rich Slowly approach and philosophy. This is the same info that you'll find scattered in various articles around this site. It's also a sort of working draft for what became my Audible course.
The Money Boss Method, which is a one-page version of the GRS approach and philosophy. It's basically an outline of the modern approach to financial freedom.
The one-hundred words poster I created in 2013 in partnership with my friend, Lisa. This is a short list of guidelines meant to help me lead a happier life. Other folks wanted a copy, so I added it to the file vault.
I would love to have help with the Get Rich Slowly file vault.
If you know of other free resources that should be added to the GRS file vault, let me know. And if you notice any problems — if you're unable to access the files — drop me a line. My aim is to make this a fun and useful collection of stuff for people to browse.
Future Plans
Now that Kim and I have resolved our uncertain future, now that we've moved to Corvallis, unpacked, and begun to settle into our new lives, I find that I once again have time and motivation to publish here at Get Rich Slowly.
But I don't want to set expectations too high! I am not in a headspace where I want to churn out 3000-word articles on deep subjects. Instead, I've found myself wanting to pursue three different aspects of the site.
First, I want to devote most of my time and energy to creating what I think of as an online textbook about personal finance. This would essentially be an organized collection of the most important and useful articles at this site, and it truly would be organized as if it were a textbook. So, for instance, I might take all of the many “get out of debt” articles I've written over the years and combine them into a single, definitive piece about how to get out of debt.
Second, I want to create a library of personal-finance resources. I have dozens of book reviews at this site, but no organized way to view them. I don't do a lot of personal-finance product reviews, but I'd like to do more. (Or, more precisely, to have my business partner Tom do them.) And so on.
Lastly, I want most of my “new” articles (as opposed to the “old”, revised pieces for the “textbook”) to be brief write-ups of interesting stories I find around the web. Amazon rigs its search results? Shocking! What makes a job meaningful? Thoughts on the pursuit of childhood joy? These are all things that might be of interest to GRS readers, but which don't merit 3000-word articles, you know?
Anyhow, I hesitate to share these plans because I know I have a piss-poor track record of actually following through with my intentions lately. (So, no need to remind me of that haha.) But as I think of what I'd like to do with Get Rich Slowly, these are the primary outlets I'm aiming for.
Microsoft CEO Satya Nadella recently released his annual report to shareholders, colleagues, customers, and partners. In the report, Nadella detailed the struggles many have faced throughout this year due to the pandemic, as well as the gains that Microsoft has ... Read more
Today, following the 25th year anniversary of Microsoft Sysinternals, we are announcing the general availability of a new Microsoft Sysmon report in VirusTotal.
Whether you’re an IT professional or a developer, you’re probably already using Microsoft Sysinternals utilities to help you manage, troubleshoot, and diagnose your Windows systems and applications. The powerful logging capabilities of Sysinternals utilities became indispensable for defenders as well, enabling security analytics and advanced detections. The System Monitor (Sysmon) utility, which records detailed information on the system’s activities in the Windows event log, is often used by security products to identify malicious activity.
The new behavior report in VirusTotal includes extraction of Microsoft Sysmon logs for Windows executables (EXE) on Windows 10, with very low latency, and with Windows 11 on the roadmap. This is the latest milestone in the long history of collaboration between Microsoft and VirusTotal. Microsoft 365 Defender uses VirusTotal reports as an accurate threat intelligence source, and VirusTotal uses detections from Microsoft Defender Antivirus as a primary source of detection in its arsenal. Microsoft Sysinternals Autoruns, Process Explorer, and Sigcheck tools integrate VirusTotal reports, and VirusTotal itself uses Sigcheck to report details on Windows portable executable files.
The security industry has long recognized the value of Microsoft Sysmon. Last year, the United Kingdom National Cyber Security Center (NCSC) published a tutorial on basic logging requirements for security, Logging Made Easy (LME), and cited Microsoft Sysmon as the solution for security host-based logging. Security professionals are building solutions on Microsoft Sysmon. Microsoft Azure Sentinel includes several solutions based on Microsoft Sysmon, including parsing and normalizing data. Meanwhile, TrustedSec has released a very useful community guide for Sysmon configuration, noting how the tool provides security value to customers. Splunk also released a blog post that highlights how Sysmon events can be used for threat hunting.
Figure 1: Microsoft Sysinternals report in VirusTotal.
Adding the unique capabilities of Microsoft Sysmon to VirusTotal expands the intelligence available for the whole security community to consume, analyze, and inform solutions—resulting in better security for all.
“We are really excited about this new collaboration with Microsoft that reinforces our long partnership to keep our world a little bit safer. VirusTotal is based on industry and community collaboration. We scan users’ submissions with a variety of tools to correlate and further characterize files, URLs, IP addresses, and domains to highlight suspicious signals. We also run executables uploaded to VirusTotal in a controlled environment, resulting in the discovery of the network infrastructure used by attackers, registry keys providing persistence on infected machines, and other valuable indicators of compromise. The integration of Microsoft Sysmon is an important added value to the already existing behavior analysis solutions in the VirusTotal Multisandbox project that will benefit the entire cybersecurity community.”—Karl Hiramoto, Senior Software Engineer, VirusTotal
A look at the Microsoft Sysmon report
Sysmon’s logging capabilities cover important system events such as process activity, complete with command line, activity on the filesystem and registry, network connections, and more. The Sysmon documentation provides an exhaustive description of all the available events and security features.
The Sysmon logs in the new behavior report in VirusTotal include an extraction of a rich set of indicators of compromise (IoCs) and system metadata from Microsoft Sysmon security events.
For example, the activity of a coin miner malware is captured in Sysmon and exposed in the detonation report. The process activity is captured in the Process Tree, as well as in the Processes Created and Processes Terminated sections:
Figure 2: Process tree, process created, and process terminated info in Microsoft Sysinternals report.
Network events show the malware communication to the miner’s server:
Figure 3: IP traffic and DNS resolutions info in Microsoft Sysinternals report.
The rest of the sections contain information about files, registry artifacts, and more. For example, the dropped files are captured and registry keys are logged:
Figure 4: Dropped files and registry modification info in Microsoft Sysinternals report.
Some of the shell commands clearly identify the threat as a coin miner:
Figure 5: Shell commands info in Microsoft Sysinternals report.
Better community threat intelligence results, better security for all
We discussed in a past blog entry how to use the MSTICPy Threat Intelligence APIs to query information about IOCs and how to build relationships and graphs from them. Now we are publishing a new notebook to explore file detonation data from VirusTotal. This new notebook lets researchers:
Query and browse VirusTotal summary and detonation data for a given file hash.
Visualize detonation process trees with command lines.
Look up related IOCs (in VirusTotal and other providers).
Generate sample queries for Azure Sentinel to search for indicators from the detonation data.
These new features allow researchers to find stronger and more accurate relationships between detonation samples and campaigns that may be active in their own organizations.
Figure 6: Browsing detonation data and displaying the process tree.
Figure 7: Generating a query to hunt for indicators from the detonation sample.
Learn more
In closing, the events captured by Microsoft Sysmon logs identify valuable behaviors and IoCs leveraged for detections and threat hunting.
The incorporation of Sysmon reports in VirusTotal provides cybersecurity experts with an additional, valuable source of information to perform malware analysis and threat hunting. We recommend any field expert to make full use of the rich and accurate IoCs provided by Sysmon reports for their daily duties. Please email us your feedback, we look forward to hearing from the security community.
To learn more about Microsoft Security solutions, visit our website. Bookmark the Security blog to keep up with our expert coverage on security matters. Also, follow us at @MSFTSecurity for the latest news and updates on cybersecurity.
The Ibex is an amazing creature that can climb nearly vertical surfaces. This video, "The incredible ibex defies gravity and climbs a dam," shows these wild goats in action, climbing up the wall of an incredibly steep dam. I was proud of myself for getting off the couch and going on a walk around my neighborhood this morning, but after seeing the Ibex going on its daily stroll up a giant stone wall, my sense of accomplishment has been stripped away. — Read the rest
James Wan radically reinvented the horror genre with "The Conjuring." After the success of "Insidious," his second foray into supernatural horror following the poorly received "Dead Silence" (which was unfair -- "Dead Silence" is good), Wan dove into more mature, classic horror territory. As Alonso Duralde succinctly put it in his review for The Wrap, "'The Conjuring' doesn't try to reinvent the tropes of horror movies ... but Fred Astaire didn't invent tap-dancing, either." A classic haunted house tale directed with modern verve, "The Conjuring" was an unprecedented success, inspiring an entire cinematic universe that now spans eight movies, with several more to come.
However, as successful as the movies are, there are still a number of nagging inconsistencies. While the first "Conjuring" was uniquely grounded in the real world, the series slowly grew more fantastical. As the specters increased in size, stature, and motive, so too did the inaccuracies. Here, we'll review the 10 things that make the least amount of sense in "The Conjuring" universe, including "The Curse of La Llorona," despite what director Michael Chaves has to say about its canonicity.
Lorraine Doesn't Originally Sense The Witch's Totem In The Devil Made Me Do It
"The Conjuring: The Devil Made Me Do It" was met with a mixed reception. While some critics and audiences were thrilled to see the famed Warrens, earnestly played by Vera Farmiga and Patrick Wilson, return to the big screen, others feared the series had run its course. One of its principal faults is that "The Devil Made Me Do It," as sequels are wont to do, opts to go bigger at the expense of what made the series so successful in the first place. The scares are bigger and louder, the violence ickier, and the ghosts so bombastic that the franchise now seems desperate for an exorcism of its own.
Going bigger, too, risks revealing the seams, and "The Devil Made Me Do It" has several. The most egregious sin is the inconsistent use of Lorraine Warrens' clairvoyance. Lorraine has made use of her power several times during the series, whether exploring family photos or sensing where a demon might strike. In "The Devil Made Me Do It," Lorraine is inexplicably unaware that the house where she recently exorcised a demon has a witch's totem buried beneath it. It's never explained how this curse eluded her. There's some mumbo jumbo about how the curse is powerful enough to dodge Lorraine's clairvoyant peculiarities, but it seems like something she should have sensed.
Everyone Keeps Annabelle Around
This is a sin that applies in equal measure to "The Conjuring," "Annabelle," "Annabelle: Creation," and "Annabelle Comes Home." The real life Annabelle doll is an allegedly cursed Raggedy Ann doll. Keeping a cursed object around is certainly never a good idea, but one can easily see why the real Annabelle might have made its way into someone's home. The Annabelle of "The Conjuring" cinematic universe is an uncanny, ghastly porcelain nightmare. The doll has no redeeming qualities, even when measured against the admittedly low standards held by doll connoisseurs. This doll is scary.
Yet, as scary as the doll is, "The Conjuring" universe repeatedly wants audiences to believe that this doll is not only normal, but actively, fervently desired. Nurses in "The Conjuring" sought it out before their haunting, and the two dollmakers (Miranda Otto and Anthony LaPaglia) make it for their daughter, not realizing that, cursed or not, Annabelle is unequivocally terrifying. Nice gift, Samuel and Esther Mullins. Worse still, given how much Ed and Lorraine Warren prevaricate about how evil the doll is, it never really makes sense that they would keep it in their house. Ensconced in papal glass, the evil is ostensibly contained, although after eight movies in which the evil is very decidedly not contained, one wonders why they wouldn't at least consider an alternative.
Patricia Blames Anna, Not La Llorona, For Her Kids' Deaths
"The Curse of La Llorona" is the lowest rated installment in "The Conjuring" franchise. That might account for the series' creators' retroactive desire to remove it from "The Conjuring" timeline altogether. The entry was plagued by controversy even before release, most of which was on account of whitewashing a legend central to Mexican culture. Any myopic sins might have been forgiven had "The Curse of La Llorona" not been a retread of scares the audience had seen five times before. While La Llorona, played by Marisol Ramierz, is incredibly realized, the scares are inconsistent and tame.
The worst of it, though, is just how contrived its setup is to begin with. Patricia Alvarez's (Patricia Velásquez) two children are targeted and killed by La Llorona, an event social services dismiss as neglect and abuse. It's bad enough that it's never fully explained why Alvarez's children were targeted in the first place. Yet, after her children's deaths, Patricia blames Anna (Linda Cardellini), the social worker who first took Patricia's children away. She summons La Llorona and has the creature target Anna and her children so that Anna might feel the same pain she does. The entire thing is predicated on Patricia's reluctance to admit that locking children in a closet on account of a ghost isn't something that a social worker would reasonably believe. Worse, Anna is never outright hostile or incredulous. She wants to help Patricia figure out what's going on.
Lorraine's Climactic Exorcism In The Conjuring
Love heals all. Well, it doesn't, but if the ending to "The Conjuring" is to be believed, all that Regan MacNeil needed was some love and perspective. At the end of "The Conjuring," Lorraine realizes that Bathsheba (Joseph Bishara), the specter haunting a rural Rhode Island farmhouse, has been possessing mothers on her land and making them kill their children. Another possession is in full swing when Carolyn Perron (Lili Taylor) absconds with one of her daughters, Christine (Joey King), to the house, intent on sacrificing her to Satan. Ed, Lorraine, and officer Brad (John Brotherton) get there in time and manage to free Christine and tie Carolyn to a chair.
Ed must expel Bathsheba from Carolyn and begins a full-borne exorcism. It's for naught, though, as Carolyn quickly escapes and chases after her other daughter, April (Kyla Deaver). She's completely possessed by this point, armed with a pair of scissors that she intends to use in the worst possible way. Just as Carolyn catches April and brandishes the shears, Lorraine grabs hold of Carolyn. She begs Carolyn to remember the good times and to break Bathsheba's hold from within. In moments, it works, and love alone -- not Bibles or rituals or Latin incantations -- frees Carolyn's soul. It's a poignant and sweet moment, if a bit saccharine, but also radically undermines everything that came before. Why is love alone sufficient?
Evelyn Sacrifices Herself For Mia
The climax of "Annabelle" is arguably the most egregious in the entire series. Midway through, housewife Mia Form (yes, a play on Mia Farrow) is sufficiently plagued by the haunted Annabelle doll. Desperate for help, she solicits the assistance of Evelyn (Alfre Woodard), a neighbor and the proprietor of a local bookstore. Through no fault of Woodard herself, Evelyn's character leans heavily into the "magical negro" stereotype. Replete with knowledge of demonology, curses, possession, and the unknown, Evelyn's primary role seems to be delivering exposition to the white protagonists.
That, though, isn't even the worst of it. In the end, the demon makes its intent clear -- it plans to steal Mia's newborn daughter and entice Mia into giving up her soul. Mia is initially willing to sacrifice herself for her daughter. However, as she plans to step out the window of her apartment with the Annabelle doll in her hands, Evelyn arrives. Feeling guilty about the death of her daughter years prior, Evelyn decides to jump in Mia's place, sacrificing both her life and eternal soul for a woman she barely knows. Intended as a profound act of sacrifice, the entire thing feels scuzzy. The racial politics are misplaced, the act itself is arbitrary, and it doesn't even consider that the demon might not want Evelyn's soul -- after all, it's been targeting Mia this entire time. It's an ugly misstep in a movie that simply didn't need it.
The Entirety Of The Nun
"The Nun," as directed by Corin Hardy, is the most visually striking entry in "The Conjuring" universe. A throwback to the Gothic tentpoles of yesteryear, "The Nun" is "The Conjuring" by way of Hammer Horror and Roger Corman. Casting Vera Farmiga's sister, Taissa Farmiga, was an inspired choice, and if it has nothing else, "The Nun" at least feels sufficiently dangerous. The characters face real threats as they explore an abandoned, haunted abbey plagued by Bonnie Aarons' terrifying Valek, who first appeared in Wan's "The Conjuring 2." It's clear from the get-go that whatever the characters do, Valek is poised to return.
In order to defeat Valek, it is theorized that the portal from which she was released must be sealed with the literal blood of Christ. Luckily, a vial of Christ's blood is being held in the abbey, and the rift is only a short walk away in the basement. It's bad enough that Valek, having offed the entire abbey, is curiously ineffective at stopping them. Considerably more sinful, Farmiga's Sister Irene is successful. The rift is sealed and Valek is dramatically swept into a vortex and sealed beneath the abbey. Cue the happy ending.
Only, it isn't happy. There's a final twist showing Jonas Bloquet's subsequent possession by Valek, rendering the entire thing moot. It makes no sense. If Valek is still around and capable of possession, why bother with the dramatic demise? Valek should know better.
Despite Their History, The Warrens Quickly Dismiss Penny Hodgson
"The Conjuring 2" is arguably better than the original. Though it's more fantastical -- Crooked Man, anyone? — the scares are more frequent and meaner. With a runtime over two hours, "The Conjuring 2" is a haunted house movie with a legacy as enduring as its ghosts. It's unfortunate, then, that the core conflict of Wan's follow-up is so arbitrary.
"The Conjuring 2" stars a shakily-accented Frances O'Connor as a cockney mother of three who lives in a haunted house largely paid for by the British government. When she claims that the house is haunted, the Warrens are called in. Franka Potente of "Run Lola Run" fame is the chief human antagonist, a skeptic convinced that O'Connor's Peggy Hodgson is manufacturing the entire thing to secure better housing.
Initially, the Warrens are unconvinced, although Lorraine makes a recurrent note of her inability to sense anything awry. It culminates in a staged incident caught on tape, one that compels the Warrens to leave. Later, of course, Lorraine learns that "The Nun" villain Valek had blocked her clairvoyance, but otherworldly sense or not, it feels out of character for these two to so easily dismiss someone's claims.
Carol Fixes The Lights Instead Of Running In Annabelle: Creation
"Annabelle: Creation" is very scary. "Lights Out" director David F. Sandberg delivered the most dangerous Conjuring universe entry at the time with a vicious, no-holds-barred yarn about orphans and possessed porcelain dolls. The scares are unconventional for the series, with Sandberg making use of a diverse array of possessed haunts. One of the most effective scenes involves orphan Carol (Grace Fulton) escaping to a barn.
After a gaggle of girls lock themselves in a car, they're assailed by a possessed scarecrow and flee. In the barn, Carol catches sight of the scarecrow again and is rightly petrified. Then, the bulbs attached to the lights on the ceiling slowly unscrew as a demon manifests in the corner. Rather than flee, Carol keeps the scarecrow within her line of sight and proceeds to ... fix the lights. The scarecrow itself has no business being in there -- the only plausible explanation is demonic activity -- yet Carol reasons that it's safer to stay and play electrician than it is to bolt right out the door. It's sheer lunacy.
The Warrens Hire A Teen Babysitter When Their House Is Full Of Cursed Objects
"Annabelle Comes Home," while not the scariest entry in the Conjuring cinematic universe, might very well be the most fun. A cross between "Annabelle" and "Night at the Museum," it was enormously successful, grossing $231 million worldwide against a $27 million budget. It stars Mckenna Grace as the Warrens' daughter Judy, replacing Sterling Jerins from the previous two "Conjuring" movies. When the Warrens head out of town, they hire Madison Iseman's Mary Ellen to babysit. That alone makes little sense. With a house full of accursed objects, it's reasonable to assume that the Warrens might have someone other than a high-school girl on deck.
Teenagers do as teenagers do, though, and shortly after arriving, Mary Ellen's friend, Daniela (Katie Sarife) crashes the party, intent on gaining access to the artifact room in hopes of contacting her late father. In doing so, she unleashes Annabelle, who uses her power to possess sundry cursed artifacts, including haunted coins, a board game, and a sinister television set. "Annabelle Comes Home" has a frightening ferryman, werewolves, and homicidal bridal gowns. Though none of it is taken especially seriously, it's hard to move past the cursed elephant in the room: With it being this easy to unleash a demonic horde, why run the risk of getting a babysitter at all?
The Demons Never Kill Anyone
The demons in the "Conjuring" universe often have the basest of desires. Like their predecessor Pazuzu, they're often there to wreak havoc, menace some rural folk, and just barely miss out on their chance at securing a human soul. As with all cinematic supernatural showdowns, however, the rules guiding their behavior are arbitrary and unclear, serving the plot more than any semblance of narrative fidelity. These demons attack and chase, yet they never bother to kill the people who stand in their way.
They're clearly capable of it. "Annabelle Creation" and "The Nun," for instance, have considerably more deaths than the other entries in the franchise. Yet, even though Annabelle is keen on ripping her own mother in half, she's content to let nuns and orphaned teenagers go free, happy to rough them up some but never taking it any further.
If the Conjuring franchise has any glaring flaw, it's precisely this: The stakes are never clear. While that was fine for the first few entries, after eight movies, the supernatural rules need to have some degree of internal consistency. Unfortunately, there simply isn't any. In cleansing Bathsheba and Valek, haunted games, and monstrous wolves, the Conjuring universe might have inadvertently exorcised logic as well.
In Frank Herbert's "Dune," several imperial forces wage war over a precious resource that can only be found in a single location, while the natives of that land reap none of the benefits. In the seminal 1965 sci-fi novel, that resource is the hallucinogenic drug known as the "spice" melange, but it doesn't take much reading between the lines to see that "Dune" is about oil.
Like oil, melange is a highly valued resource without which an entire empire would collapse. Like the oil-rich Middle East, the desert planet of Arrakis is ruled over by a foreign force who reap all the benefits while treating the natives with a paternal wariness at best, hostility and persecution at worst. Herbert is not shy about his allegory either: Arabic influences abound in "Dune," whether in the language, or the culture, or the messianic myth that drives his books.
But if you're coming to "Dune" strictly from its depiction on the big or small screen, these Middle Eastern ties may not be so obvious. David Lynch's 1984 feature adaptation of "Dune" was overwhelmingly white, as was Syfy's two miniseries iterations. Denis Villeneuve's upcoming adaptation of "Dune," therefore, must have a foot ahead of them, simply by virtue of having many people of color in its extremely attractive cast — Zendaya, Sharon Duncan-Brewster, and Jason Momoa among them. But several have already criticized the lack of MENA (AKA Middle East and North Africa) actors among the ensemble, despite the obvious influences of Islamic history on "Dune." But with the direction that the story is heading (should there be a Part II, or beyond), is a clear-cut Middle East allegory what we want? And how much does Villeneuve's "Dune" fall back on Arabic imagery anyways?
The Oil Must Flow
In "Dune," melange, also known as "the spice," is a hallucinogenic drug that extends the life and enhances the capabilities of anyone who consumes it — allowing the all-powerful Empire to harness it to essentially fold space. By folding space, the Navigators of the Spacing Guild are able to travel between planets that are millions of light years away in an instant. Without this faster-than-light interstellar travel, the Empire would collapse.
It's obvious where the inspiration is here — a real-life fuel source without which entire countries and economies would collapse? Oil.
By the time Herbert published "Dune" in 1965, major oil explorations in Iraq had already been tearing through the country for more than 30 years. Refineries had been built, and major companies in the U.S., Britain, France, and Holland already had a chokehold on the oil distribution trade. Until 1958, when a coup overthrew the Iraqi monarch whose dealings with other countries kept the oil profits out of the hands of native Iraqis. This led to a domino effect that included the establishment of the Iraqi Petroleum Company, President Eisenhower's Iraq intervention, the creation of OPEC, and the 1979 Energy Crisis, but I'm not going to drag you into a whole history lesson. The point is that Herbert had a real-life source upon which to base his sci-fi story, and would draw heavily from the oil crisis in Iraq and the revolution that followed.
The Arabic Influences On Dune
Just look at the abundance of Arabic words that Herbert appropriated in his books: Muad'dib. The Padishah Emperor. Jihad. In Arabic, Muad'dib — which is the name for the desert mouse that Paul Atreides takes as his messianic title — means "educator/he who teaches." Padishah is the Persian title for king. And jihad is familiar for to anyone up to date with current events.
In an unpublished 1978 interview with Tim O'Reilly, Herbert cites the "colloquial Arabic" as a signal to the reader that they are "not here and now, but that something of here and now has been carried to that faraway place and time." Whether that only served to exoticize the characters of the book or whether it made "Dune" one of the rare foundational sci-fi books to not be entrenched in Western language and mythology is still a source of discussion, but there's no denying Herbert's admiration of Arabic and Islamic culture in his books.
Herbert doesn't strictly pull from Arabic influences in "Dune" — "Kwisatz Haderach," the name of the prophesied messiah and superbeing, is a Hebrew term, for example. And he gets a little less subtle with his naming conventions with the native "Fremen" (literally a few letters off from "free man"), in addition to how eerily similar "Arrakis" sounds like Iraq.
A Crusade For Denis Villeneuve's Dune
Ahead of the release of "Dune," it was revealed that Denis Villeneuve would not be using the word "jihad" to describe the revolution led by Paul Atreides. Instead, it would be referred to as a "crusade," a word with Christian roots that itself feels in direct opposition to Herbert's Arabic-inspired sci-fi saga. But this indicated that Villeneuve would be steering away from the Arabic influences in "Dune" — which for some modern readers and audiences, might prove troubling.
I personally felt slightly troubled by the rampant racial coding in the book, feeling that Herbert (probably unintentionally) diminished the Fremen characters, who were treated in an almost patronizing manner — similar to how imperial forces treat natives in reality. And I wondered whether Villeneuve, in steering away from the Arabic influences of the book and casting a variety of POC actors in the roles of both Fremen and imperial forces, might avoid the comparisons altogether. Would Villeneuve's vision completely divorce itself of the real-life inspirations by essentially going with a color-blind cast?
Not really. In fact, far from it. Villeneuve's adaptation of "Dune" is rife with Arabic-inspired imagery, from the Moorish architecture, to the Middle Eastern-inspired outfits of the Arrakis natives, to the predominant casting of people of color as the Arrakis natives who greet the House Atreides when they arrive. Most obviously, there's Hans Zimmer's score, which features the haunting ululation of a woman that is unquestionably inspired by Middle Eastern music. You can practically see the tambourines.
And though Oscar Isaac, Jason Momoa, Dave Bautista, and Chang Chen hail from the imperial Houses Atreides or Harkonnen, it's apparent that most of the actors of color like Zendaya, Sharon Duncan-Brewster, and Babs Olusanmokun, are playing Fremen. And with the abundance of robes and head scarves they wear, it becomes even more apparent that there isn't a MENA actor in sight.
White Saviors Of Arrakis
Through it all, Paul Atreides remains a white savior. It's the trope that refers to a white person from one culture coming into another to "save" the helpless, often uncivilized, minorities — a trope that has imperialist roots too. And it's an image that has become roundly savaged in recent media depictions, from "Game of Thrones" to "The Help." And it's one that Herbert's "Dune" intentionally subverts, though that will come much later.
Paul Atreides, and his revolution, is based in no small part by the man who inspired "Lawrence of Arabia," real-life British soldier T. E. Lawrence, who led a revolt against the Ottoman Empire during the First World War. But where "Dune" and reality differs is in the messianic "Chosen One" story. Paul is speculated to be the prophesied Kwisatz Haderach, a superbeing who will lead humanity into a new age at the bloody cost of thousands of lives. Throughout Villeneuve's "Dune," Chalamet's Paul struggles with and even rejects this prophecy, which his mother Lady Jessica (Rebecca Ferguson) believes he'll fulfill. But Herbert's later books will unravel the idea behind this prophesied messiah, becoming a warning of sorts against the white savior myth. And Villeneuve, if he ever gets around to adapting the rest of "Dune," certainly has a knack for debunking the Chosen One narrative.
All the same, is another white savior saga something we want to see play out on our big screen? Villeneuve's "Dune" just barely manages to bypass it by virtue of the POC actors throughout the ensemble, but if the Fremen were to be played exclusively by MENA actors, wouldn't this just create another problem for "Dune"? Perhaps this question is too big to be answered with a movie that is only "Part 1" of a story. Perhaps this was criticism that was always going to be levied at anyone who was going to adapt as racially loaded a book as "Dune."
"Dune" opens in theaters and on HBO Max on October 21, 2021.
"Gone Girl" is one of the most popular mystery novels of the postmodern era. Before publication, expectations for the book were high, as author Gillian Flynn's previous works, "Sharp Objects" and "Dark Places," had established her as a sharp, cunning writer unafraid to tackle truly twisted material. "Gone Girl" became a sensation when it hit bookshelves in 2012; the question "Who is Amy Dunne?" haunted both the novel's characters and an audience of mystery fans.
Hollywood quickly turned its attention to an adaptation. 20th Century Fox nabbed the rights, and Flynn was hired to write the adaptation herself. Some authors may complain when filmmakers change their stories or distort their original intent, but Flynn got the opportunity to bring "Gone Girl" directly to the big screen.
David Fincher's involvement made the film even more exciting. Fincher is one of the best filmmakers working in Hollywood, and no stranger to twisty mysteries with shocking reveals, thanks to his work on "Fight Club," "Se7en," "The Girl With The Dragon Tattoo," and "Zodiac." His film "The Social Network" also makes for a fascinating companion piece, as that film's themes regarding media awareness are also pertinent to "Gone Girl."
"Gone Girl" is a mystery, but it contains elements of horror, satire, and romance that make it unique. If you're a thriller fan who loves "Gone Girl," make sure to check out these other great films.
I Care A Lot
Before "Gone Girl," Rosamund Pike already had a long and established career. She'd appeared in period pieces such as "Pride & Prejudice" and "An Education," and as a love interest in thrillers like "Die Another Day" and "Jack Reacher." While clearly talented, Pike had never received a role that showed how versatile she was. Thankfully, "Gone Girl" gave her the opportunity to craft one of the most complex cinematic villains of the 21st century. Meticulous, intelligent, and darkly funny, Pike's performance earned her an Academy Award nomination for best actress.
Pike continued to develop her range in later years, and her role in the recent black comedy "I Care a Lot" is her best since Amy Dunne. The satirical thriller has a twisted edge that's similar to "Gone Girl," seamlessly blending shocking violence with social satire. Both films have fun tormenting their casts of morally ambiguous characters; nearly every character in "I Care a Lot" is flawed, so the viewer should enjoy seeing them face the consequences of their actions.
Pike stars as con artist Marla Grayson, who manipulates the system in cases of legal guardianship in order to steal from elderly clients. Grayson has no sympathy for her targets or their families, but greedy investors have taken an interest in using her unique skill set. She forms an unusual alliance with crime boss Roman Lunyov (Peter Dinklage), although both intend to double cross each other. Shocking until the final moments, "I Care A Lot" is unflinchingly cynical and lots of fun.
Hollywoodland
Ben Affleck was at a fascinating point in his career when he joined the cast of "Gone Girl." Affleck's stardom had declined throughout the early 21st century thanks to critical and financial disappointments like "Gigli," "Reindeer Games," "Surviving Christmas," and "Daredevil," but he turned his career around by directing "Gone Baby Gone," "The Town," and "Argo." Affleck proved he was a serious storyteller interested in humanity's darker aspects, and as Nick Dunne, he paired well with David Fincher's bleak worldview.
Nick is an interesting character, as he's constantly put under the media spotlight and his actions are meticulously tracked by the public. Affleck was no stranger to this struggle, as he personally had been the subject of countless tabloid stories. But "Gone Girl" isn't the first time that Affleck has explored these themes on screen. The underrated 2006 biopic "Hollywoodland" cast him as one of the most famous stars of all time: the original TV Superman, George Reeves. Reeves' presumed suicide had been one of Hollywood's most fascinating true crime stories for decades, and many still suspect that he was murdered.
"Hollywoodland" tells the fictional story of detective Louis Simo (Adrien Brody), who investigates Reeves's death. The life of the "Superman" star is shown in flashbacks, and hints at those who might be involved with his mysterious death. It's an essential watch for Affleck fans interested in his nuanced, self-aware roles.
Widows
The success of "Gone Girl" made Gillian Flynn a Hollywood star, as her complex stories and rich characters found a whole new audience. Flynn's debut novel "Sharp Objects" was adapted into an award-winning HBO series starring Amy Adams, and Charlize Theron starred in a film version of her follow up, "Dark Places." Flynn herself continued to write screenplays, and paired with masterful filmmaker Steven McQueen for the 2018 heist thriller "Widows." Like "Gone Girl," "Widows" is a rich tapestry full of social commentary, blended with a crime-thriller storyline.
"Widows" opens with a heist gone wrong, in which bank robber Harry Rawlings (Liam Neeson) and his entire team are killed. Harry's wife Veronica (Viola Davis) is devastated, but the ghosts of Harry's past give her little time to process her grief. Harry accrued a serious debt that Veronica must repay to Jamal Manning (Brian Tyree Henry), a mob boss running for mayor. After a threat from Manning's brother (Daniel Kaluuya), Veronica theorizes that she could complete Harry's last heist with a team of her own. She recruits Linda (Michelle Rodriguez) and Alice (Elizabeth Debicki); their husbands Carlos (Manuel Garcia-Rulfo) and Florek (Jon Bernthal) were part of Harry's team, and were also killed.
Their planned job targets the estate of the legendary Illinois power broker Tom Mulligan (Robert Duvall). Tom's son Jack (Colin Farrell) is running for mayor against Jamal, creating further pressure for Veronica's team. Flynn's script explores the complex social, political, and racial conflicts in modern Chicago.
The Game
David Fincher was the perfect director to helm "Gone Girl." Fincher often explores morally ambiguous stories of intrigue and suspense, and doesn't conform to Hollywood cliches. When crafting a cutthroat mystery, some filmmakers may be concerned with making their characters likeable. Fincher is comfortable depicting flawed protagonists, and neither Nick nor Amy are characters that the audience is rooting for, although they both have their sympathetic qualities.
Fincher's 1997 mystery "The Game" similarly introduces an initially detestable protagonist whose backstory is only gradually revealed. The investment banker Nicholas van Orton (Michael Douglas) is the embodiment of wealth and privilege, and masks his personal hardships behind a callous attitude. Frequently insulting both his co-workers and service staff, Nick only seems to cool down during a birthday dinner with his brother Conrad (Sean Penn). There, Conrad gives him an unusual present, offering him an invitation to an interactive game run by a mysterious company called Consumer Recreation Services.
Nick finds that the simulated reality takes over its participants' lives, and he's forced into violent action as the organizers manipulate him. His childhood is explored, as the game itself forces players to confront traumatic memories. Nick and Conrad both struggle with guilt following their father's suicide, and Conrad suffers a breakdown in the middle of the film as CRS haunts him. In addition, "Gone Girl" stands out for its nonlinear story structure; Fincher uses similar techniques in "The Game."
The Lady From Shanghai
There's a theatricality to "Gone Girl" that distinguishes it among modern thrillers. The characters are playing to their public personas; Nick must convince both the media and police that he's simply a hapless, innocent, and heartbroken bystander. Similarly, the major twist, as revealed in the iconic "Cool Girl" sequence, reveals that Amy has crafted an entirely different persona. She fakes events in order to secure Nick's humiliation and death, darkly joking about the cluelessness of everyone who believed her story.
Fincher has fun exploring the characters' twisted psychology, and learned many lessons from the cinematic icon Orson Welles. Welles was fascinated by morally despicable characters who are more than they initially appear to be. Fincher recently crafted his tribute to the legendary director with his recent biopic "Mank," which explored the production of "Citizen Kane," but Welles' 1947 film "The Lady from Shanghai" is a twisty noir that's more in line with "Gone Girl" and the rest of Fincher's filmography.
Welles stars as Michael O'Hara, an Irish dock worker who is recruited by Arthur Bannister (Everett Sloane) and his wife Elsa (Rita Hayworth) to work on their yacht. Arthur is the target of a murder plot, and Elsa involves Michael in the conspiracy. Like Amy, Elsa is no standard femme fatale, and develops a complex romance with Michael. The surprising twists and dark humor that Welles incorporates into their relationship recalls Nick and Amy's ups and downs.
Eyes Wide Shut
"Gone Girl" was fascinating not only as a thriller, but as a dissection of a marriage. Nick and Amy have an intensely troubled relationship, and Amy's diary hides secrets that have haunted them since their first date. Nick is completely clueless about his wife's plot, and throughout the investigation comes to realize that he's searching for someone who he doesn't truly know. While the story goes shocking places, it's an authentic depiction of the hardships that modern couples face.
Stanley Kubrick's 1999 masterpiece "Eyes Wide Shut" also explores these latent romantic anxieties with a conspiracy-filled storyline. Bill Harford (Tom Cruise) is an affluent New York doctor who is blindsided with jealousy when his wife Alice (Nicole Kidman) reveals that she had a mysterious dream about having an affair. Bill is drawn into a secret society that throws extravagant sexual parties; after infiltrating a meeting, the society's members track him down, and he's forced to reveal his participation to Alice.
"Eyes Wide Shut" was Kubrick's final film, as he passed away shortly prior to its release. "Gone Girl" deals with many aspects of celebrity culture, and "Eyes Wide Shut" is even more fascinating given that Cruise and Kidman were actually married when the film was shot.
The Good Liar
"Gone Girl" is thrilling because it changes the audience's perception of who the protagonist actually is. There's more than enough reason to question Nick's motivations; he certainly seems suspicious, thanks to his ignorance of Amy's life and his own extramarital affairs. Fincher and Flynn slowly reveal how Amy manipulated events, but the story never goes in a straightforward direction.
The underrated 2019 thriller "The Good Liar" also pits two intelligent characters in a battle of wits, and leaves the viewer questioning who has the upper hand. Ian McKellen stars as the aging con artist Roy Courtnay, who becomes romantically involved with the wealthy heiress Betty McLeish (Helen Mirren). Roy aims to convince Betty to sign over her fortune, but she's aware of his scheme. Betty instead recruits Roy, but she has her own secret reasons for working alongside the dangerous man.
Mirren and McKellen are electrifying to watch on screen, and director Bill Condon doesn't shy away from surprisingly graphic content. The brilliant ending ties together Betty and Roys' past with a sickening reveal.
The Gift
"Gone Girl" is a revenge film, but not in the traditional sense. Amy's plot is complex; she aims to put Nick through hell for his neglect during their relationship, but the exact details of her plan aren't revealed until midway through the story. The guise of a standard whodunit allows "Gone Girl" to develop both characters' backstories. In his directorial debut, actor Joel Edgerton crafted a similar revenge story that incorporates traumatic details from its characters' pasts.
Simon Callmen (Jason Bateman) is a wealthy Los Angeles businessman who prides himself on the lavish nature of his expensive home. His wife Robyn (Rebecca Hall) is slightly uncomfortable with their recent move from Chicago, and grows more suspicious of her husband when his mysterious childhood friend Gordon Mosley (Edgerton) reappears and begins giving them gifts. The awkward man was nicknamed "Gordo" as a youth, and was relentlessly bullied by Simon and his friends. Edgerton is both sympathetic and terrifying, especially once Gordo's true intentions are revealed.
Secret Window
It's not hard to see the connection between Flynn and Stephen King. Both authors explore dark subjects and like to throw curveballs at their readers, taking their intricate narratives in surprising directions. King himself has supported Flynn throughout her career, and listed "Gone Girl" as one of his recent favorites. King's psychological thriller "Secret Window, Secret Garden" explores themes of identity, regret, and mental trauma that are also present in "Gone Girl."
The story was adapted by writer-director David Koepp into the underrated 2004 film simply titled "Secret Window." Johnny Depp stars as Mort Rainey, a depressed author who works alone on his latest project in an isolated cabin in the woods. Mort is recovering from a split with his wife Amy (Maria Bello), who was having an affair with their friend Ted (Timothy Hutton). Aiming to fix his life and reenergize himself with the writing process, Mort is flustered when the eccentric local John Shooter (John Turturro) arrives at his doorstep and accuses him of plagiarism. The tension escalates as details from the story begin to infect Mort's reality.
Affliction
The nonlinear narrative of "Gone Girl" makes the story more compelling. Viewers learn about Nick and Amy's early days together through flashbacks, casting the later developments in a different light. As a result of the layered text, "Gone Girl" is very rewatchable. Writer-director Paul Schrader found a similar balance between timelines with his icy 1997 mystery "Affliction." Like "Gone Girl," "Affliction" initially proceeds as a standard whodunit before it's revealed to be a complex character study.
"Affliction" follows alcoholic policeman Wade Whitehouse (Nick Nolte) as he investigates the death of a local hunting guide on Halloween night. Official reports claim that the death was a suicide, but Wade suspects murder. His life is already falling apart, as he's in the middle of a custody battle for his daughter Jill (Jill Whitehouse). The case forces Wade to reflect on his own troubled childhood. Clues point to Wade's father Glen (James Coburn), who abused Wade and has never been held accountable. Coburn's terrifying performance earned him an Academy Award for best supporting actor shortly before the beloved actor passed away.
The Lincoln Lawyer
"Gone Girl" may initially seem like a straightforward investigative mystery, but the story is actually full of misdirection, and ends up challenging genre archetypes. The 2011 film "The Lincoln Lawyer" also subverts expectations, but does so for the legal thriller. Matthew McConaughey's earnest lawyer Mickey Haller is assigned to defend the affluent California playboy Louis Roulet (Ryan Phillipie) in a murder case, but becomes tied up in a conspiracy when he realizes his client is guilty.
"The Lincoln Lawyer" delicately balances morality and mystery. Haller is a diligent servant of the law, and he's bound by both confidentiality agreements and his commitments to defend Louis. However, he's unable to shake his guilty conscience, and looks for other ways to achieve justice in the case. Although he believes that Louis is guilty, Haller realizes the case is not as cut and dry as he initially expected, and begins looking into the powerful players involved in the coverup. McConaughey's dynamic performance came right at the beginning of the comeback dubbed "The McConaissance," and the charismatic and intelligent Haller is one of his best characters.
Mystic River
"Gone Girl" deconstructs the false sense of security in a seemingly comfortable community. Amy's diary challenges the superficial attitudes of their Missouri town's residents, and exposes the ease with which they're manipulated. Clint Eastwood's 2003 masterpiece "Mystic River" explored similar tensions in a blue-collar Boston community. The town covered up shocking secrets, and is willing to protect those who commit heinous crimes.
Three young boys -- Jimmy, Dave, and Sean -- grew up as best friends, but their relationship splintered after a traumatic event left them all emotionally scarred. Dealing with the consequences as adults, Jimmy (Sean Penn) leads a secret life as a criminal, Dave (Tim Robbins) is a beloved community figure, and Sean (Kevin Bacon) is a methodical police investigator. They've had little reason to reconnect, but are bound by tragedy when Jimmy's daughter (Emmy Rossum) is found murdered. Dave is a suspect due to suspicious activities on the night of the murder, and Sean is tasked with investigating the case.
Like "Gone Girl," "Mystic River" is a great mystery that questions its characters' morality. Jimmy is no stranger to violence, and is willing to go well beyond the law in order to achieve vengeance. Dave is a sympathetic character who is forced into a tragic situation when Jimmy is unwilling to hear the truth. Both Penn and Robbins won Academy Awards for their complex performances.
The Ghost Writer
Fincher does a great job building a mounting sense of anxiety in "Gone Girl." Nick's allies dwindle as he's accused of murdering his wife, and Amy's meticulous plot to frame him only furthers his isolation. Nick has no one to turn to when his life is in danger. The 2010 political noir "The Ghost Writer" creates a similar sense of ongoing suspense. While "Gone Girl" explored the underlying conflicts in a romantic relationship, "The Ghost Writer" deconstructs the deceptive nature of modern politics.
British Prime Minister Adam Lang (Pierce Brosnan) hires an unnamed ghostwriter (Ewan McGregor) to craft a compelling autobiography that will win him back the public's favor. McGregor's character is intrigued by the opportunity, but finds Lang to be oddly secretive about key moments in his past. He discovers that the Prime Minister approved the kidnapping of suspected terrorists without trial, a scandal that could end his career. While piecing together the mystery, the writer is put under constant pressure to stay silent.
For the FX on Hulu series, showrunner Eliza Clark imagined a world in which everyone with a Y chromosome suddenly dies. For CNET's I'm So Obsessed podcast series, she explains how the aftermath shows us why diversity truly matters.
Many years ago, I saw—or at least I think I saw—an article that claimed stirring a pot of food using straight, back-and-forth motions was more effective than stirring in circles. I cannot find the original article I either saw or imagined, but at least one other person also saw or imagined this particular piece of…
Google today released Chrome v95, the latest version of its popular web browser and a version that contains several changes that will likely cause problems for a considerable part of its users. The problematic changes include: removing support for File Transfer Protocol (FTP) URLs -- ftp://
removing support for the Universal 2nd Factor (U2F) standard, used in old-generation security keys (Chrome will only support FIDO2/WebAuth security keys going forward)
adding file size limits for browser cookies
removing support for URLs with non-IPv4 hostnames ending in numbers, such as http://example.0.1
In addition to breaking changes, Chrome 95 also comes with a new UI component called the "Side Panel," which can be used to view the Chrome browser's Reading List and Bookmarks.
Tons of home workouts swear they’ll make you stronger, but not all of them are actually good at that job. If your heart is beating out of your chest and you’ve lost count of how many dozens of reps you’ve done, what you’re doing is probably not a good strength-training workout.
(Superhero Bitsis a collection of stories, updates, and videos about anything and everything inspired by the comics of Marvel, DC, and more. For comic book movies, TV shows, merchandise, events, and whatever catches our eye, this is the place to find anything that falls through the cracks.)
In this edition of Superhero Bits:
"The Batman" trailer gets released in 4K
"DC League of Super-Pets" is getting a video game
Tom Hardy teases a Spider-Man/Venom connection
DC FanDome was apparently a big hit
All that and more!
The Flash Season 8 Trailer
The CW has released a new trailer for "The Flash" season 8. The show is set to return as part of the network's lineup this fall, with Grant Gustin once again reprising his role as Barry Allen. But he's going to have gold boots this time! Be sure to check out the trailer for yourself above before the show returns on November 16.
Venom And Spider-Man Crossover Teased By Tom Hardy
It remains somewhat unclear when/if/how Tom Holland's Spider-Man will cross paths with Tom Hardy's Venom. With that having been said, Hardy isn't afraid to hype up just such a thing following the release of "Venom: Let There Be Carnage," as evidenced in the above tweet. As we can see, Hardy was having a little fun with the idea on Instagram. Is it any more than fun? Time will tell, Marvel fans. Time will tell.
DC League Of Super-Pets: The Adventures Of Krypto And Ace Trailer
"DC League of Super-Pets" is set to arrive in theaters next summer, with Dwayne "The Rock" Johnson starring as Krypto the Superdog and Kevin Hart along as Batman's trusty dog Ace. As revealed during DC FanDome, the pets in question are getting a video game as well, which makes a lot of sense from a marketing perspective. Be sure to check out the trailer for yourself above
Eternals Star Angelina Jolie On Directing A Marvel Movie
https://twitter.com/Variety/st...Angelina Jolie is joining the MCU in Marvel's "Eternals," which recently held its premiere ahead of its release on November 5, 2021. During the red carpet, Variety asked Jolie, an accomplished director in her own right, if she would be interested in directing a Marvel flick at some point. In response, Jolie said coyly, "Maybe I'll talk to Kevin [Feige] tonight, see if there's a job for me." Sounds like the ball is in your court, Feige.
The Full Smallville Reunion
We got a little "Smallville" reunion during DC FanDome over the weekend. But, given how much happened, it kind of got lost in the shuffle. Luckily, the folks at DC decided to upload the full version of this reunion on YouTube for fans who would like to look back at the Superman series in honor of its 20th anniversary. It primarily sees Tom Welling (Clark Kent) and Michael Rosenbaum (Lex Luthor) reminiscing, but there are some other guests along the way. Check the video out in its entirety above.
Florence Pugh Wants A Yelena Halloween Costume
Florence Pugh debuted as Yelena Belova in Marvel's "Black Widow," and she had a thing about pockets. As such, she was none too happy to discover that her character was not worthy of a Halloween costume, as evidenced by this post on Instagram. Pugh is seen posing in front of a shop window, irritatingly gesturing to Black Widow and Red Guardian costumes. She argues, rightfully, that pockets are ideal for holding candy, and her character had that market cornered. While she's almost certainly playing this up for laughs, it's a funny and oddly on-point rant.
DC FanDome Was A Big Hit, Apparently
As reported by ComicBook.com, Warner Bros. is proclaiming that this year's DC FanDome was a big success. The event is said to have generated 66 million views worldwide, though there isn't much clarity on those numbers. Does that take into account the 25 million views for "The Batman" trailer? It is unclear. Ann Sarnoff, Chair and CEO of WarnerMedia Studios and Networks, had this to say:
"With triple the fan traffic of last year, DC FanDome 2021 exceeded all of our expectations. We continue to innovate across the company in service of our fans, and I cannot overstate the creativity and hard work that went into this highly curated, global digital event. We gave fans what they wanted - the very best of all things DC - and their engagement and response have been fantastic. We're as excited as they are to deliver on all the great content DC FanDome highlighted."
We can likely expect DC FanDome to return for another round of pop culture happenings in 2022, given these numbers. Vague though they may be.
The Batman Trailer Released In 4K
The biggest of the big things to come of DC FanDome was the brand new trailer for director Matt Reeves' "The Batman." We here have talked about the footage at length, however, for those looking for an excuse to watch Robert Pattinson get emo in Gotham City again, the trailer has been released in glorious 4K now. So, you can watch it again on a 4K capable TV, or any other device, in crystal clear fashion. Enjoy.
Lastly, to end on something fun and related to spooky season for the day, we have this unusual yet interesting reveal from the folks at NECA. They have partnered with Universal to bring a line of "Teenage Mutant Ninja Turtles" figures to life that will mirror the classic monster movie franchises from the studio. The video above sees Raphael as Frankenstein, for example. Be sure to check out the video for yourself and keep an eye on NECA's social channels for more information about the line.
Denis Villeneuve's highly anticipated adaptation of Frank Herbert's "Dune" is almost here, which makes it the perfect time to revisit the other "Dune" film adaptation, directed by surrealist maestro David Lynch. Lynch's "Dune", released in 1984, is something of a mixed bag; it was a critical and commercial failure but has gained a small cult following over the years. So how did the man who directed the gonzo, avant-garde "Eraserhead" and then the heartwrenching "The Elephant Man" end up taking on a big-budget science fiction fantasy story riding on the success of "Star Wars"?
Keith Phipps at The Ringer did a deep dive into just how Lynch ended up in the director's chair for "Dune," and the reason? Well, it's complicated.
Lynch Loved The 'Unadaptable' Novel
In the early 1980s, rising director David Lynch was just getting his career started. His first feature, "Eraserhead," was a grotesque and surreal tale that earned him a lot of love from cult movie fans. In 1980 he released "The Elephant Man," based on a pair of books about the life of Joseph Merrick, a British man in the late 1800s who suffered from severe deformities and was exhibited at a freak show before becoming well known in London society. "The Elephant Man" was nominated for eight Academy Awards, and even inspired them to create the "Best Makeup" category.
The commercial and critical success of "The Elephant Man" set Lynch up to make something big. He was approached to direct "Return of the Jedi," but felt that he wouldn't have nearly enough control over it. In 1984, he told the Associated Press that Lucas had already designed "three quarters of it" by the time he was asked to come onboard.
In 1981 producers Dino De Laurentiis and Raffaella De Laurentiis reached out to Lynch about possible making an adaptation of "Dune." The novel was already considered impossible to adapt, with Alejandro Jodorowsky, Ridley Scott, and "Planet of the Apes" producer Arthur P. Jacobs all previously taking a big swing at making the story work for the screen. Lynch read the novel and signed on almost immediately, because inspiration had struck:
"When I finished the novel. I was just knocked out. I'd seen Star Wars, of course; but to be honest, I wasn't all that crazy about it. For me, there was just too much on the surface in that film, and nothing else. Dune was different; it had believable characterizations and depth. In many ways, Herbert had created an internal adventure, one with a lot of emotional and physical textures. And I love textures."
An Opportunity For World-Building
Not only did "Dune" give Lynch a chance to explore all of the textures of Herbert's novel, it also gave him the opportunity to do some serious world-building. He would be able to build not just one, but four worlds, which was pretty exciting.
Via a Zoom call, film historian Paul Sammon, who was frequently on the "Dune" set while working at Universal Studios, told The Ringer:
"I think David was primarily attracted to the fact that he was able to create four separate worlds with Dune ... and was able to sort of tell himself that he was satisfying the next career step up, while at the same time retaining enough artistic control where he would be able to impose his own viewpoint."
While "Dune" was a critical and commercial failure, Herbert was impressed by Lynch's vision. Production was difficult, with the budgetary restrictions causing serious slowdowns. Lynch's rough cut of the film was more than four hours long, and his intended version would be more than three. The De Laurentiises made heavy cuts, excising entire scenes and adding in new ones to explain things for the audience in an attempt to make it a two-hour, audience-pleasing blockbuster. Instead, almost no one was happy, and "Dune" bombed, hard.
The Legacy Of Lynch's Dune
The good news is that the supposed failures of "Dune" didn't slow down Lynch's career. He went from the big-budget, epic scale of "Dune" to making "Blue Velvet," a much more intimate story about a college student, played by Kyle MacLachlan, who gets romantically involved with a troubled lounge singer (Isabella Rossellini). The film reunited Lynch with MacLachlan, who starred in the lead role in "Dune." It also reunited him with producer Dino De Laurentiis and actors Dean Stockwell and Brad Dourif. His career would continue steadily from there, delivering such greats as "Twin Peaks," "Lost Highway," and "Mulholland Drive."
While Lynch almost never talks about his movies, and has been even more reticent to talk about "Dune," it's important to remember its place in the director's filmography. It's a bold attempt on taking on incredibly challenging subject matter, and he was doing it before we had the kinds of digital effects we have today. It's a convoluted mess of a movie, but there is so much potential within it that it's hard to hate.
We have yet to see how Villeneuve's "Dune" will do by comparison, but we'll find out soon enough when "Dune" drops on HBO Max and in theaters nationwide on Thursday, October 21, 2021.
Hello, Uglies. When I say that I was excited for DRAGULA Season 4, I don’t think you understand the actual level of excitement. When it comes to Drag competitions, The Boulet Brothers take it to the next level. Don’t get me wrong. RuPaul is a legend and one of the most fabulous and beautiful human beings on the planet. But the Boulet Brothers bring not only stunning Drag, but elements of horror and filth the likes of which you have never seen. We’re talking Season 4, baby!
The lineup for season 4 is some of the best I have ever seen. As a massive fan of Priscilla Chambers, Evah Destruction, Landon Cider, Dahli, and the House of Black, I was anxious to see who would fight for the title of Drag Supermonster this year for Season 4. Saint is back for a third time, after winning the title in the Dragula: Resurrection Halloween special last year. Their Drag has improved exponentially since their first appearance on season 3 and I think this will be their best year yet. We also have Dahli’s daughter, Astrud Aurelia, as she joins the competition with a style that is very reminiscent of a cross between Dahli and Victoria Elizabeth Black.
The Boulet Brothers also welcome two female Drag performers this year: AFAB (Assigned Female At Birth) Sigourney Beaver and transgender female Bitter Betty, both Drag Queens. Following in Monikkie’s footsteps, Formelda Hyde also joins as a fully masked performer. There’s Merrie Cherry, Koko Caine, La Zavaleta, and Jade Jolie also joining. But the monster I am looking forward to the most is the Drag Yokai, HoSo Terra Toma. They are the first contestants from outside North America on Dragula and their style is one of the most unique and thoroughly horrific that I have ever seen. I am in love with their drag style and I will say it now, they are my favorite to win. We just have to see how they handle stage performing.
The production quality of DRAGULA Season 4 has been ramped up considerably, namely the season intro and the extermination videos. We all know that any monster that gets exterminated must die and we get a front-row seat to their death (not to mention the VERY extreme extermination challenges). This time, it’s a bit more cinematic and that’s really appreciated. The thought and quality that gets put into these short films intermixed with the competition keep each episode fresh, exciting, a little funny, and filled with blood and viscera, just how we like it. As usual, the Boulet Brothers look incredible and we get to hear even more of their music in Season 4, which is also a welcome addition.
If you are a fan of drag, glamour, filth, and horror, then I’d advise you to not miss a single moment of DRAGULA Season 4. From the moment it begins, you will be sucked in and cheering for your favorite all the way until the end. Watch Dragula on Shudder now, Uglies! I dare you!
THE BOULET BROTHERS’ DRAGULA, premiered exclusively on Shudder on Tuesday, October 19, and will have new episodes to follow every Tuesday.
Apple announced the new 2021 MacBook Pro models recently and the new laptops have a lot going for them. While the new design is a more than welcome addition, the new M1 Pro and M1 Max chips have clearly stolen the show. The new Apple Silicon is not only powerful when it comes to performance but also power efficient. The new 14-inch and 16-inch MacBook Pro models feature a new chassis with improved thermals that Apple says that you will rarely use due to the efficiency of the M1 Pro and M1 Max chips.
Apple's New Thermal Systems Are Efficient But You WIll Rarely Use it All Thanks to the M1 Pro and M1 Max Chips in the New 2021 MacBook Pro Models
According to Apple, the new thermal system in its 2021 MacBook Pro models have the potential of moving 50 percent more air at lower fan speeds. Since the new M1 Pro and M1 Max chips in the MacBook Pro models are greatly improved, one would presume that the fans would make a lot of noise. This is due to the fact that performance comes with a caution - thermal issues.
However, even though the thermal system on the new MacBook Pro models have been greatly improved, users would rarely need it all thanks to the new M1 Pro and M1 Max chips in the 14-inch and 16-inch MacBook Pro models. Apple's senior vice president of hardware engineering states that the chassis of the machines are designed with an "intense focus on performance and utility."
Nonetheless, since the thermal system on the 2021 MacBook Pro models has been improved, it will keep the machines cool even under heavy processing. The new models with M1 Pro and M1 Max chips are available for pre-order at this point and will be available to customers starting next week.
This is all there is to it, folks. What are your thoughts on the scenario? Let us know your take in the comments section below.
