Darling movie review

A lonely young woman (Lauren Ashley Carter) descends into madness when she becomes the caretaker of a mysterious New York mansion that has a troubled past. Show More • Genre: Horror, Mystery & thriller • Original Language: English • Director: • Producer: • Writer: • Release Date (Theaters): Apr 1, 2016 limited • Release Date (Streaming): Jun 14, 2016 • Runtime: 1h 18m • Distributor: Screen Media Films • Production Co: Glass Eye Pix

The film is a sequel to “The Woman,” a controversial 2011 collaboration between Speaking of, Darlin’s case attracts the attention of the Bishop ( As “Darlin’” goes on, it ping-pongs back and forth between moments of gruesome horror (gorehounds will no doubt be pleased with the carnage on display), off-beat humor ranging from the darkly satiric to the cheerfully goofy, sweetness involving Darlin’ and her friendship with her rebellious fellow student ( Not all of these moments work even on an individual level either. The stuff involving the depravations of the Bishop may have been conceived with the upmost sincerity and righteous fury but they have been executed with all the subtlety of a kick to the head. His character is presented here in such a cartoonishly evil manner that if the finale had found him attempting to tie Darlin’ to the nearest railroad tracks, it would not have seemed entirely out of character. There is also a group of homeless women that The Woman falls in with on her search for Darlin’ that are introduced with great fanfare and brought along for the big finale but who never actually do much of anything, certainly not enough to warrant their presence. These scenes are bad enough on their own but they become especially frustrating when they steal focus from what does actually work. I have seen “Darlin’” twice now and I oddly found that I liked it a little better the second time around. Perhaps this is because I knew by that point that it was a mess from a t...

• • • ‘He Went That Way’ Review: Jacob Elordi and Zachary Quinto in True Crime Misfire Awkwardly Stuck Between Genre Cracks Premiering at the Tribeca Film Festival, the first feature from Australian cinematographer and commercials director Jeffrey Darling was completed following his death last year in a surfing incident. • Share this article on Facebook • Share this article on Twitter • Share this article on Flipboard • Share this article on Email • Show additional share options • Share this article on Linkedin • Share this article on Pinit • Share this article on Reddit • Share this article on Tumblr • Share this article on Whatsapp • Share this article on Print • Share this article on Comment The foundations of He Went That Way would appear to promise a movie with curiosity, tension, volatility and perhaps even the kind of improbable bonding that can grow out of Stockholm syndrome. Putting a celebrity animal trainer, a serial killer and a chimp together in a station wagon headed across Route 66 in the turbulent mid-’60s at the very least suggests something with edge and compelling strangeness. Which makes it disappointing to report that despite the best efforts of co-stars Venue: Cast: Jacob Elordi. Zachary Quinto, Patrick J. Adams, Pheonix Notary, Ananyaa Shah Director: Jeffrey Darling Screenwriter: Evan M. Wiener, based on the book Luke Karamazov, by Conrad Hilberry 1 hour 35 minutes No critic enjoys beating up on a first feature, least of all one whose director died s...

There is something bothering Alice. She’s underwater, watching the murky light and floating seaweed above her. She is not swimming back up for air—at least not yet. The scene is a precursor to something that will happen later in the movie “Alice, Darling,” but it’s also a visual metaphor for the character’s state of mind. In reality, she’s back on land, meeting her friends at a restaurant in the city. Although she’s in good company now, her mind is elsewhere. Below the surface of her smile, Alice ( Nighy balances these perspectives as generously as she can. Almost every exchange or nervous glance from friend to friend or lover to lover feels like a hostage negotiation. What should be tender moments between the young couple are often cruel rounds of verbal and emotional abuse. The tension of the situation is baked within every confrontational staging between the pair or how detached Alice looks and feels from her friends. Even when Simon isn’t physically there in the scene, the fallout of his presence is visually evident. It’s isolated Alice from those who truly care about her. The murkiness in Alice’s relationship carries over to the film’s aesthetics thanks to cinematographer As the movie’s namesake, Kendrick embodies the tortured feeling of holding onto someone harmful. Alice tells her friends, “He wouldn’t love me if he knew how bad I am,” justifying her mistreatment repeatedly to them and herself. Kendrick’s performance is a stunning departure from her usual bubbly scr...

The uptight friend, the quirky leading lady, the semi-rebellious college radio DJ who harnesses the melodic potential of red solo cups: These are the roles Up in the Air, she seemed, still, more likely to portray a Beca than a Natalie. But in Alice, Darling, Kendrick transfixes, affirming that she has always had depth and range. The actress plays Alice, a woman made vulnerable and emotionally battered by an insidiously abusive relationship. Kendrick starts by channeling a fragility, as if Alice were made of china and any sudden moves from her boyfriend, Simon (Charlie Carrick), or friends Sophie (Wunmi Mosaku) and Tess (Kaniehtiio Horn) could shatter her. Then her performance, under Nighy’s assured direction, shifts. It grows, retracts and swells again, reflecting the emotional seesaw of abuse. Venue: Cast: Anna Kendrick, Kaniethiio Horn, Wunmi Mosaku, Charlie Carrick Director: Mary Nighy Screenwriter: Alanna Franci 1 hour 29 minutes It’s through Alice’s compulsions — pulling strands of hair, winding them tightly around her index finger, obsessively counting calories — that we see the cruelty of her relationship. Nighy prefers suggestion to explanation. Through brief flashbacks, expertly intercut by editor Gareth C. Scales, we understand that Simon, a mercurial painter, has ingrained himself into Alice’s psyche. He haunts her — so much that when Sophie and Tess invite Alice to spend a weekend at Sophie’s cottage, Alice tells Simon she’s going on a work trip. She rehearses ...

A lonely young woman (Lauren Ashley Carter) descends into madness when she becomes the caretaker of a mysterious New York mansion that has a troubled past. Show More • Genre: Horror, Mystery & thriller • Original Language: English • Director: • Producer: • Writer: • Release Date (Theaters): Apr 1, 2016 limited • Release Date (Streaming): Jun 14, 2016 • Runtime: 1h 18m • Distributor: Screen Media Films • Production Co: Glass Eye Pix

• • • ‘He Went That Way’ Review: Jacob Elordi and Zachary Quinto in True Crime Misfire Awkwardly Stuck Between Genre Cracks Premiering at the Tribeca Film Festival, the first feature from Australian cinematographer and commercials director Jeffrey Darling was completed following his death last year in a surfing incident. The foundations of He Went That Way would appear to promise a movie with curiosity, tension, volatility and perhaps even the kind of improbable bonding that can grow out of Stockholm syndrome. Putting a celebrity animal trainer, a serial killer and a chimp together in a station wagon headed across Route 66 in the turbulent mid-’60s at the very least suggests something with edge and compelling strangeness. Which makes it disappointing to report that despite the best efforts of co-stars Venue: Cast: Jacob Elordi. Zachary Quinto, Patrick J. Adams, Pheonix Notary, Ananyaa Shah Director: Jeffrey Darling Screenwriter: Evan M. Wiener, based on the book Luke Karamazov, by Conrad Hilberry 1 hour 35 minutes No critic enjoys beating up on a first feature, least of all one whose director died shortly after completing principal photography and never got to see the finished film. Perhaps Darling’s involvement in post-production might have helped shape something less toothless out of the material, though given Evan M. Wiener’s dud script, that seems doubtful. The story was inspired by a real-life encounter in which animal trainer Dave Pitts, while traveling across the co...

There is something bothering Alice. She’s underwater, watching the murky light and floating seaweed above her. She is not swimming back up for air—at least not yet. The scene is a precursor to something that will happen later in the movie “Alice, Darling,” but it’s also a visual metaphor for the character’s state of mind. In reality, she’s back on land, meeting her friends at a restaurant in the city. Although she’s in good company now, her mind is elsewhere. Below the surface of her smile, Alice ( Nighy balances these perspectives as generously as she can. Almost every exchange or nervous glance from friend to friend or lover to lover feels like a hostage negotiation. What should be tender moments between the young couple are often cruel rounds of verbal and emotional abuse. The tension of the situation is baked within every confrontational staging between the pair or how detached Alice looks and feels from her friends. Even when Simon isn’t physically there in the scene, the fallout of his presence is visually evident. It’s isolated Alice from those who truly care about her. The murkiness in Alice’s relationship carries over to the film’s aesthetics thanks to cinematographer As the movie’s namesake, Kendrick embodies the tortured feeling of holding onto someone harmful. Alice tells her friends, “He wouldn’t love me if he knew how bad I am,” justifying her mistreatment repeatedly to them and herself. Kendrick’s performance is a stunning departure from her usual bubbly scr...

The film is a sequel to “The Woman,” a controversial 2011 collaboration between Speaking of, Darlin’s case attracts the attention of the Bishop ( As “Darlin’” goes on, it ping-pongs back and forth between moments of gruesome horror (gorehounds will no doubt be pleased with the carnage on display), off-beat humor ranging from the darkly satiric to the cheerfully goofy, sweetness involving Darlin’ and her friendship with her rebellious fellow student ( Not all of these moments work even on an individual level either. The stuff involving the depravations of the Bishop may have been conceived with the upmost sincerity and righteous fury but they have been executed with all the subtlety of a kick to the head. His character is presented here in such a cartoonishly evil manner that if the finale had found him attempting to tie Darlin’ to the nearest railroad tracks, it would not have seemed entirely out of character. There is also a group of homeless women that The Woman falls in with on her search for Darlin’ that are introduced with great fanfare and brought along for the big finale but who never actually do much of anything, certainly not enough to warrant their presence. These scenes are bad enough on their own but they become especially frustrating when they steal focus from what does actually work. I have seen “Darlin’” twice now and I oddly found that I liked it a little better the second time around. Perhaps this is because I knew by that point that it was a mess from a t...

The uptight friend, the quirky leading lady, the semi-rebellious college radio DJ who harnesses the melodic potential of red solo cups: These are the roles Up in the Air, she seemed, still, more likely to portray a Beca than a Natalie. But in Alice, Darling, Kendrick transfixes, affirming that she has always had depth and range. The actress plays Alice, a woman made vulnerable and emotionally battered by an insidiously abusive relationship. Kendrick starts by channeling a fragility, as if Alice were made of china and any sudden moves from her boyfriend, Simon (Charlie Carrick), or friends Sophie (Wunmi Mosaku) and Tess (Kaniehtiio Horn) could shatter her. Then her performance, under Nighy’s assured direction, shifts. It grows, retracts and swells again, reflecting the emotional seesaw of abuse. Venue: Cast: Anna Kendrick, Kaniethiio Horn, Wunmi Mosaku, Charlie Carrick Director: Mary Nighy Screenwriter: Alanna Franci 1 hour 29 minutes It’s through Alice’s compulsions — pulling strands of hair, winding them tightly around her index finger, obsessively counting calories — that we see the cruelty of her relationship. Nighy prefers suggestion to explanation. Through brief flashbacks, expertly intercut by editor Gareth C. Scales, we understand that Simon, a mercurial painter, has ingrained himself into Alice’s psyche. He haunts her — so much that when Sophie and Tess invite Alice to spend a weekend at Sophie’s cottage, Alice tells Simon she’s going on a work trip. She rehearses ...