#LynneRamsay

[pez2001jp]

#WeNeedtoTalkAboutKevin #少年は残酷な弓を射る #LynneRamsay #リンラムジー #シネマおっさん #おっさんシネマ たぶん その2️⃣7️⃣9️⃣ 🏹👍 #ティルダスウィントン #エズラミラー 絶妙な邦題 #絶妙なタイトル https://www.instagram.com/p/Co8SSiISKvh/?igshid=NGJjMDIxMWI=

[film-book]

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DIE, MY LOVE: Screen Legend Nick Nolte to Appear in Lynne Ramsay's Upcoming Dramatic Film https://film-book.com/die-my-love-screen-legend-nick-nolte-to-appear-in-lynne-ramsays-upcoming-dramatic-film/?feed_id=146112&_unique_id=66d3c6337e631

[doomonfilm]

Memories : The Best Films of the 2010s

Only a few years into my tenure as a film blogger, and I’ve been tasked with a monumental undertaking : ranking the top films of the last decade.  Reflecting year by year is a journey in its own right, and with things like recency bias to take into account, plus the dice roll of blessing and curse that perspective and time bring to older films, I knew that this would be memorable at best, and stressful at worst.

That being said, I don’t claim to have seen every movie, so I know that there are some ‘glaring’ omissions.  I am always open to recommendations for films I should watch (for the purpose of blogging on them or otherwise), but DOOMonFILM has always been about my personal experience as a film fan, first and foremost.  Discussion is welcome, and constructive criticism will always be considered, but this is one man’s opinion.

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THOUGHTS ON THE DECADE

The 2010s, despite moments of controversy in terms of diversity, turned out to be surprisingly forward-thinking in hindsight.  On more than one occasion in the decade, the film of the year (in terms of awards or in terms of critical/public reception), as well as highlight films of each year, were made by foreign directors.  Women and minorities also managed to be recognized in front of and behind the camera at what seemed like a higher rate.  Newer technologies were embraced, such as pushes forward in new cameras or directors opting to shoot on devices as small as iPhones, leaps forward in special effects, and a multitude of movies given the iMax treatment.  A handful of directors happened to put out multiple movies throughout the decade, and a few of those in that handful managed to make multiple award-winning and widely accepted films.  Marvel left such an impact on Hollywood, and the worldwide movie industry, that DC was forced to try and follow suit, and mergers with Sony and Disney were top tier news for months on end.  Actors like Scarlett Johanson, Ryan Gosling, Emma Stone and Leonardo DiCaprio, among others, solidified themselves as box-office legends, while actors on both sides of their career (first-timers and those in the twilight of their career) found success throughout the decade.  All in all, it was a decade that continued to make me happy to be a movie fan, and as hard as it was to do, I managed to find 100 films throughout the decade to rank. 

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100. It Comes at Night (dir. Trey Edward Shults, 2017) 99. Kick-Ass (dir. Matthew Vaughn, 2010) 98. The Peanuts Movie (dir. Steve Martino, Andy Beall and Frank Molieri, 2015) 97. Everybody Wants Some!! (dir. Richard Linklater, 2016)  96. Upstream Color (dir. Shane Carruth, 2013) 95. Avengers : Age of Ultron (dir. Joss Whedon, 2015) 94. John Dies at the End (dir. Don Coscarelli, 2013) 93. Doctor Strange (dir. Scott Derrickson, 2016) 92. Keanu (dir. Peter Atencio, 2016) 91. Free Fire (dir. Ben Wheatley, 2017) 90. Upgrade (dir. Leigh Whannell, 2018) 89. Chappie (dir. Neill Blomkamp, 2015) 88. American Ultra (dir. Nima Nourizadeh, 2015) 87. I, Tonya (dir. Craig Gillespie, 2017) 86. Boyhood (dir. Richard Linklater, 2014) 85. The Grand Budapest Hotel (dir. Wes Anderson, 2014) 84. La La Land (dir. Damien Chazelle, 2016) 83. Ex Machina (dir. Alex Garland, 2015) 82. Nightcrawler (dir. Dan Gilroy, 2014) 81. Sicario (dir. Denis Villeneuve, 2015) 80. Looper (dir. Rian Johnson, 2012) 79. The Killer Inside Me (dir. Michal Winterbottom, 2010) 78. Hell or High Water (dir. David Mackenzie, 2016) 77. End of Watch (dir. David Ayer, 2012) 76. Django Unchained (dir. Quentin Tarantino, 2012) 75. Thoroughbreds (dir. Cory Finley, 2018) 74. Chronicle (dir. Josh Trank, 2012) 73. Melancholia (dir. Lars von Trier, 2011) 72. Black Mirror : Bandersnatch (dir. David Slade, 2018) 71. Detroit (dir. Kathryn Bigelow, 2017) 70. BlacKkKlansman (dir. Spike Lee, 2018) 69. Black Panther (dir. Ryan Coogler, 2018) 68. I Am Not Your Negro (dir. Raoul Peck, 2017) 67. Straight Outta Compton (dir. F. Gary Gray, 2015) 66. Kubo and the Two Strings (dir. Travis Knight, 2016) 65. It Follows (dir. David Robert Mitchell, 2014) 64. Logan Lucky (dir. Steven Soderbergh, 2017) 63. Get Out (dir. Jordan Peele, 2017) 62. Booksmart (dir. Olivia Wilde, 2019) 61. Beats, Rhymes & Life : The Travels of A Tribe Called Quest (dir. Michael Rapaport, 2011) 60. Lady Bird (dir. Greta Gerwig, 2017) 59. Moonrise Kingdom (dir. Wes Anderson, 2012) 58. The Cabin in the Woods (dir. Drew Goddard, 2012) 57. Black Swan (dir. Darren Aronofsky, 2010) 56. Captain America : The Winter Soldier (dir. Joe Russo, 2014) 55. If Beale Street Could Talk (dir. Barry Jenkins, 2018) 54. Avengers : Infinity War (dir. Anthony Russo, 2018) 53. True Grit (dir. Ethan and Joel Cohen, 2010) 52. Three Billboards Outside Ebbing, Missouri (dir. Martin McDonagh, 2017) 51. Whiplash (dir. Damien Chazelle, 2014) 50. Midsommar (dir. Ari Aster, 2019) 49. Journey to the West : Conquering the Demons (dir. Stephen Chow and Derek Kwok, 2013) 48. Sorry To Bother You (dir. Boots Riley, 2018) 47. Mid90s (dir. Jonah Hill, 2018) 46. Logan (dir. James Mangold, 2017) 45. The Killing of a Sacred Deer (dir. Yorgos Lanthimos, 2017) 44. Phantom Thread (dir. Paul Thomas Anderson, 2017) 43. The Hateful Eight (dir. Quentin Tarantino, 2015) 42. Exit Through the Gift Shop (dir. Banksy, 2010) 41. The Irishman (dir. Martin Scorsese, 2019) 40. Suspiria (dir. Luca Guadagnino, 2018) 39. The VVitch (dir. Robert Eggers, 2016) 38. Dogtooth (dir. Yorgos Lanthimos, 2010) 37. The Lighthouse (dir. Robert Eggers, 2019) 36. Annihilation (dir. Alex Garland, 2018) 35. Drive (dir. Nicolas Winding Refn, 2011) 34. Beyond the Black Rainbow (dir. Panos Cosmatos, 2012) 33. The Favourite (dir. Yorgos Lanthimos, 2018) 32. Searching (dir. Aneesh Chaganty, 2018) 31. Tangerine (dir. Sean Baker, 2015) 30. Snowpiercer (dir. Bong Joon-ho, 2014) 29. Under the Skin (dir. Jonathan Glazer, 2013) 28. Dunkirk (dir. Christopher Nolan, 2017) 27. Blade Runner 2049 (dir. Denis Villeneuve, 2017) 26. Baby Driver (dir. Edgar Wright, 2017) 25. Joker (dir. Todd Phillips, 2019) 24. The Neon Demon (dir. Nicolas Winding Refn, 2016) 23. Spider-Man : Into the Spider-Verse (dir. Peter Ramsey, Bob Persichetti and Rodney Rothman, 2018) 22. The Shape of Water (dir. Guillermo del Toro, 2017) 21. The Social Network (dir. David Fincher, 2010) 20. Frances Ha (dir. Noah Baumbach, 2013) 19. Under the Silver Lake (dir. David Robert Mitchell, 2019) 18. Mad Max : Fury Road (dir. George Miller, 2015) 17. Good Time (dir. Josh and Benny Safdie, 2017) 16. Mandy (dir. Panos Cosmatos, 2018) 15. Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019) 14. Her (dir. Spike Jonze, 2013) 13. The Lobster (dir. Yorgos Lanthimos, 2015) 12. Inherent Vice (dir. Paul Thomas Anderson, 2014) 11. The Master (dir. Paul Thomas Anderson, 2012)

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10. The Last Black Man in San Francisco (dir. Joe Talbot, 2019)

I saw this film as the decade was winding to a close, but it made easily one of the starkest impressions on me of any film-going experience I can recall.  The movie looks amazing, the score and soundtrack are powerful, the acting is rich and dynamic, San Francisco is as beautiful on film as it is in real life, and the thoughts that arise from the narrative presented are the kind that hang around and result in personal changes that matter.  A shining achievement from a stellar year of film.

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9. Inception (dir. Christopher Nolan, 2010)

If Christopher Nolan wasn’t already considered top tier prior to Inception, any doubters were left floored at the close of this masterpiece.  For a story that could have easily been way too convoluted for standard audiences, the visuals, direction and pacing guide us through the madness perfectly.  For anyone interested in dream depictions on cinema, for fans of stellar action, and for the smart people who know the quality that comes with the Nolan name, this one was a no-brainer.

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8. mother! (dir. Darren Aronofsky, 2017)

After being a bit on the nose with Noah, in terms of a film on religion, most directors would take that as a sign to move on from the topic.  For a director like Darren Aronofsky, however, the next step was to seemingly go back to your mind-scrambling roots, dig deeper symbolically, narratively and metaphorically, and come back to the table with one of the most divisive and controversial films of the decade.  mother! will clearly be a film ripe for analysis for years to come, and for as subjective and deep an experience as the film is, this reflection is welcome, as it serves to enrich future viewing experiences.

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7. Uncut Gems (dir. Josh and Benny Safdie, 2019)

How long does a film have to be out to be considered one of the best of the decade?  In the case of Uncut Gems, I will allow recency bias, as it is clearly evident at the beginning of the closing credits that the film is special and will resonate for years to come.  The Safdie brothers already had a classic under their belt with Good Time, and throwing that Sandler magic into the mix only amplifies their heightened and immersive style.

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6. The Florida Project (dir. Sean Baker, 2017)

There are a small fraternity of directors that put out their first films and follow-up films in the 2010s, and while examples of possible award snubs can be found for these directors, there was one clear-cut case of oversight : the 2017 lack of recognition for Sean Baker’s immaculate, beautiful and moving The Florida Project.  While Tangerine was certainly the loudest of warning shots a first time director could provide, the amount of growth, nuance and confidence found in this follow-up deserved multiple awards, not just an acting nod for Willem Dafoe.  Perhaps Baker’s next film will bring him the recognition he deserves in terms of awards, but he’s already made a clear cut name for himself.

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5. Hereditary (dir. Ari Aster, 2018)

I rediscovered a love for horror films in the 2010s, and a key reason would be the emergence of director Ari Aster.  Upon seeing trailers for Hereditary, I knew that it would probably scare the life out of me, but the taste of the story given was so gripping I had to see it.  The fact that the trailer was so powerful, only for the movie to unfold in ways that I never would have imagined or discerned from the trailer, was one of the most rewarding film experiences of the decade.  Toni Collette also gave a performance for the ages.

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4. You Were Never Really Here (dir. Lynne Ramsay, 2018)

It’s arguable that Joaquin Phoenix may have had the strongest decade of any actor, and for my money’s worth, he was at his best in You Were Never Really Here.  Much of the angst presented was previously explored in The Master, and as great as Joker is, it’s essentially the DCEU version of You Were Never Really Here, tonally and in terms of specific elements.  Nobody short of the Safdie brothers are making movies that look, sound and feel like this one, and the unfortunate practice of human trafficking hitting the news forefront makes this film as timely as it is sad.

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3. Scott Pilgrim vs. the World (dir. Edgar Wright, 2010)

Hands down the coolest film of the decade.  Not since Who Framed Roger Rabbit? had so many elements that I loved from other properties managed to find their way into the same movie, and the way that the gumbo was prepared and served was pitch perfect.  As my friend Erin stated after we viewed the film, ‘If you watch this movie and don’t like it, I don’t think we can be friends’.  Some of my favorite sequences of any film are in Scott Pilgrim vs. the World, and this is the EXACT kind of film I look forward to one day sharing with my children. 

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2. Parasite (dir. Bong Joon-ho, 2019)

Another recent film that made an instant impact.  In terms of topics like honesty, entitlement, and family dynamics, nothing I can think of in recent memory is touching Parasite.  The parallels between the two families presented are perfect both visually and in the performances, and with each new bit of information presented, much of what you were previously presented is immediately recontextualized and put into question.  This film, from front to back, is one of the most gripping journeys a filmgoer can take. 

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1. Birdman or (The Unexpected Virtue of Ignorance) (dir. Alejandro González Iñárritu, 2014)

Easily my favorite film of the decade.  This is the closest thing to a song-poem that I’ve ever seen presented on film, and it’s heartbreakingly beautiful.  Nothing else released in the decade looked or sounded like this film, and the way it meta-reflects on Hollywood, Broadway, superhero films and the importance of actors is equal parts hilarious, thought-provoking and wonderfully frustrating.  The film answers enough questions it posits so as to not completely confound the viewer, but it leaves enough open-ended so that repeat viewings are rewarding.  A true achievement of film, regardless of decade.

[bryanlenning]

A tribute #posterdesign for You Were Never Really Here from #lynneramsay. Sad, lonely, and hauntingly poetic, truly a gut punch 🤛 @amazonstudios . . #youwereneverreallyhere #joaquinphoenix #ekaterinasamsonov #judithroberts #jonnygreenwood #posterart #movieposter #cinematography #soundtrack #posters #art #artistsoninstagram #instart #fanart #design #joker #graphicdesign #minimalism #minimalist #photoshop #illustration #digitalart https://www.instagram.com/p/B8y6JeeB_xo/?igshid=v1ms2bn3xtdc

[historiasdivan]

Episodio 8 - Tenemos que hablar de Kevin (We need to talk about Kevin)

[thisguyatthemovies]

If I had a hammer

I once had a rock music history professor who told us he had figured out the key to the Beatles’ success. Their songs were tight, economical. No wasted words, notes or effort.

It’s not a song, but the same could be said for director/writer Lynne Ramsay’s film “You Were Never Really Here.”

A movie that wowed them at the 2017 Cannes Film Festival, got an April 2018 release in the U.S. and came out on Blu-ray/DVD last week is fat-free. It packs more intensity, beauty and unsettling violence and content into 90 minutes than many other films combined.

Wouldn’t it be great if all films accomplished so much in so little time?

This is the fourth feature film for the Scottish director Ramsay, who wrote the screenplay based on the novella of the same name by Jonathan Ames. But the story here takes a backseat to how the story is told, mostly through visuals and sound more than dialogue, which is sparse.

“You Were Never Really Here” is about Joe, played by a beefed-up, bearded and brooding Joaquin Phoenix. Joe has issues. He has seen terrible things, starting in early childhood. He suffers from post-traumatic stress disorder, made worse by a tour of duty in the Gulf War and his chosen profession, rescuing (sometimes) underage girls from the sex trade and inflicting terrible pain on the perpetrators.

Joe is hired by a New York state senator to retrieve his 13-year-old daughter (played by Ekaterina Samsonov) from a brothel. Sounds easy enough, but the situation is more involved and corrupt than Joe knows. And when your trade involves killing, you become the hunted as much as the hunter.

Phoenix’s Joe is a man teetering on the edge of insanity. He is scarred mentally and physically. He is being held together, barely, by prescription drugs and ice packs. He bounces back and forth between the present and flashbacks – to his tortured childhood, to the girlfriend he beat, to the Middle East, to a truckload of young girls who could not be saved.

This had to be a challenging role for Phoenix, who is up to the task. Joe is both caring (he lives with his elderly and perhaps senile mother) and relentless. And he’s good at what he does. His weapon of choice: a $17 hammer. When Joe is told he has a reputation for being brutal, he responds, “I can be,” and he proves it by cracking open skulls with a tool most of us use to hit nails.

“You Were Never Really Here” is not all about the violence. In fact, some of it is implied. And in the most graphic scene, we see only the aftermath. And it’s not even Joe who has inflicted the violence.

Instead, this film is about the evils of men in power and the victimization of young girls. It’s disturbing content, to be sure, but one handled by Ramsay with care and unique perspective.

This is very much an art house film. Imagine “Walking Tall” if it had been made by an indie film director. Shots linger. The images are rarely standard movie shots. We see close-ups of hands. Or someone’s legs and feet. Or action taking place as seen through broken mirrors. And, in the film’s most intense scene, through security cameras. And in its most beautiful scene, under water. Thomas Townend’s cinematography produces so many gorgeous images that it feels like the filmmakers are showing off.

Punctuating that beauty and, somehow at the same time, Joe’s seemingly inevitable mental collapse is the score by Radiohead’s Jonny Greenwood. It bounces around between beat-driven short pieces, slightly off-tune strings and synthesized techno. The film also makes great use of ironic song choices, including the prominently featured 1961 tune “Angel Baby” by Rosie & the Originals. And Greenwood’s music and the infrequent dialogue give the picture plenty of room for the sounds of New York cityscape, cicadas chirping, Joe’s footsteps in a mansion and overlapping conversations in a diner.

“You Were Never Really Here” is, despite its beauty, a difficult watch. But it’s also a film that would be hard not to watch. Its intensity never lets up, right up to the closing credits. It’s a movie that will wear you out. It’s a movie that hits you like, well, a hammer. 

[seasondays]

incluye notas

[arktto3]

[dumb-dog-reblog]

“We Need To Talk About Kevin” 2011, Dir. Lynne Ramsay I first saw this film years ago when it came out, and remembered being blown away by it. Watching it now, nearly 7 years later, I’ve come to appreciate it on a level I previously could not. In the last few years, I have strived to become much more feminist in nature, and that informed my viewing of this movie a lot. This movie is unabashedly female and it is heartbreaking. Ramsey gives us a character who isn’t a flawless martyr. She’s real and played to absolutely perfection by Tilda Swinton. The viewer doesn’t quite know where to land with her, even though they feel bad for her circumstances. Ezra Miller, as well as all the kid actors in the film, are all breakthroughs. Haunting and real. My only real complaint is some of it is a tad pretentious and on the nose. It got better as the film went along and I strapped in for the ride, but at first it was a bit much. This film is a masterwork in storytelling and performance, and is a definite must see. I may one day make a longer filmed review and analysis of this movie. Is that something you all would be interested in? Let me know down below, as well as what you thought of this film! 9/10 #film #movie #filmreview #filmreviews #moviereview #moviereviews #review #WeNeedToTalkAboutKevin #TildaSwinton #EzraMiller #LynneRamsay

[cinemacentricinfo]

EPISODE FOUR Lynne Ramsay LISTEN August 3, 2018 www.CINEMACENTRIC.info

[reflejoculto]

Mamita era feliz antes de que naciera el pequeño Kevin. ¿Lo sabes? !Ahora mamita despierta cada mañana deseando estar en Francia! 🎬We beef to talk about Kevin (2011) • • • • 👁 #weneedtotalkaboutkevin #tenemosquehablardekevin #kevin #ezramiller #tildaswinton #lynneramsay #lionelshriver #cine #cinedeculto #cinefilos #cineadictos #thrillerpsicologico #psychologicalthriller #reflejoculto https://www.instagram.com/p/CLsGFfypTfA/?igshid=rra69snmk074

[doomonfilm]

Review : You Were Never Really Here (2018)

As the 2018 film season comes to a close, I am realizing that I have a little bit of catch-up to do.  As much as I’ve been on top of new releases this year, I have managed to let a few slip by me that deserve a viewing before I start locking in my year end lists.  One of the top films on that list, if not the top one, is You Were Never Really Here. 

Joe (Joaquin Phoenix) is a former soldier and FBI agent haunted by experiences in his past, but attempting to find redemption by rescuing trafficked girls from their captors, often using brutal force.  He takes care of his aging mother (Judith Roberts), with whom he shared a past full of abuse at the hands of her husband and his father.  Due to this lifestyle, Joe often flirts with the idea of suicide.  While meeting Angel (Frank Pando), the messenger between Joe and Joe’s handler, John McCleary (John Doman), Joe is seen by Moises (Vinicius Damasceno), Angel’s son.  Joe is given a new job rescuing Nina (Ekaterina Samsonov), the daughter of New York State Senator Albert Votto (Alex Manette), from McCleary.  Joe lets McCleary know that his address may have been compromised, but McCleary urges him to push forward with the job.  Upon completion of the job, Joe is accosted by NYPD, at which point he realizes that he and everyone he loves may be in grave danger, and that he must do whatever it takes to set things right.

I’ve heard many comparisons to Taxi Driver for this film, but I think that people are not looking past one or two obvious points of comparison (New York, human trafficking, vigilantism).  As much as I love the character of Travis Bickle, Joe is a much more complex specimen, at least in terms of direct information we are given about both his past and his state of mind.  Where Travis was a man pushed to the limits of acceptance by his view of society who was given a chance at redemption via rescuing Iris, Joe is truly a tender killing machine.  The way he cares for his mother, even when she is partially responsible for the abusive situation they both found themselves in, lets you know that he is patient, accepting, and not naturally malicious.  The way that he attempts to shield the girls he rescues from the violence he dishes out further drives those qualities home, not to mention his actions and choices in the now famous kitchen scene.  In Joe, we get a young man with an unfortunate fascination with death due to his bad situation become a savior for those who cannot save themselves as he constantly cheats the death that he is anchored by, yet still embracing.

For a film as violent as You Were Never Really There is at its core, it is far from a glorification of this violence.  The violence portrayed in the film is certainly a means to an end, and for the most part, we are either given only brief flashes of the violence or shown the immediate aftermath of it.  Our antihero is driven by both a sense of regret for past actions and the way he is haunted by his distant past, but despite the immediate validation he receives for his acts, there is not true ceiling for redemption.  He is heroic in a sense, but between the volume of damage he inflicts, and the fact that he will never truly be rewarded for his heroic actions, the toll taken on his soul far outweighs the good it does.  The brief looks into Joe’s thoughts, fears and memories are unnerving, and only further the fact that redemption is not his motivating drive for doing what he does.  In a sense, Joe is a broken man who, with a hammer, is attempting to ‘fix’ something else broken.

The camerawork is astonishing in this film, giving a wonderful sense of claustrophobia that makes the viewer feel both the pain of Joe and the sense of getting your hands dirty by proxy.  The intense, driving, erratic score that often erupts from long periods of being restrained perfectly evokes Joe’s rushes of adrenaline and the subsequent comedowns, all courtesy of Radiohead’s sonic genius Jonny Greenwood.  The film was adapted from a book, and in a weird way, it is easy to tell.  In my opinion, the pacing, characterization, and overall tone of the movie makes it oddly book-like, one of the most book-like film adaptations I can remember, and it definitely has me interested in reading the original source material.

In a career full of standout performances, Joaquin Phoenix has managed another notch on the belt, doing so much with so little (and in such a reserved manner) that you physically feel the struggle within him... I can almost guarantee a Best Actor string of nominations, if not wins, for this performance.  Ekaterina Samsonov is mysterious and intriguing, giving you the impression that she is ‘letting herself’ be saved in order to unleash a much greater vengeance on a much bigger target.  John Doman plays his role with the coolness and assurance it takes to be the man in charge, making the downfall of all around him that much more heartbreaking.  Judith Roberts is charming in her codependency that the role required, both immediately endearing her to audiences, and breaking their heart eventually.  Alex Manette, Alessandro Nivola, Frank Pando and Vinicius Damasceno also stand out.

Due to a limited run, I did not get to see this one on the big screen, and now that I have seen it, I’d be lying if I said that doesn’t bum me out a bit.  While most compare this film to Taxi Driver, I’d say a more apt comparison would be Good Time, by the Safdie brothers, and I will probably pair the two films together for a viewing at some point.  Definitely a high contender for Film of the Year, and one that will make my list that much more difficult to determine. 

[psychodramanoriter]

#LynneRamsay #JoaquinPhoenix We Need to Talk About Kevin, 2011 케빈에 대하여 You Were Never Really Here, 2017 너는 여기에 없었다 린 램지 감독의 케빈에 대하여 이후 너는 여기에 없었다로 이어지는 필모와 호아킨 피닉스의 너는 여기에 없었다에서 조커로 이어지는 필모 정말 살떨린다 그래서 나도... https://www.instagram.com/p/CIqMHvmlIxG/?igshid=u3chxy6bqtb1

[jp-lovecraft]

#LynneRamsay made a brilliant film 😳 Bravo to #TCM for running it. #film #thriller #suspense #weneedtotalkaboutkevin https://www.instagram.com/p/CFy1d31Bryp/?igshid=1x58lbsvedywe