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Rupert Russell’s The Last Sacrifice starts inside that bucolic dream — and then slashes it open.
On Valentine’s Day, 1945, on Meon Hill, Warwickshire, elderly farm labourer Charles Walton was found murdered with his own tools; pinned to the earth with a pitchfork, his neck slashed by a billhook.…
It is about the pathological difficulty of taking collective action in a society of hyper-individualization and self-obsession.
The camera begins in an ordinary London house on an ordinary London street.…
Every frame glows with painterly attention: the flicker of candlelight on stitched flesh, a crimson-lacquered angel, a rider frozen mid-gallop in a snowbound tableau. It’s as if Del Toro has built an anatomical model of Frankenstein – every bone polished, every vein visible – but forgotten to breathe full life into it.…
That’s the strange power of Hamnet – its inevitability.
The film, directed by Chloé Zhao, adapted by her and Maggie O’Farrell’s from O’Farrell’s acclaimed novel, begins beneath the shadow of this foreknowledge: Shakespeare’s young son will die, and from that death will come the greatest tragedy in English literature.…
After the classic manor-house intrigue of the original Knives Out and the sunlit, self-refractive satire of its sequel, Glass Onion, we find ourselves in the isolated parish our Our Lady of Perpetual Fortitude, in Chimney Rock, upstate New York.…