#thomasinmckenzie

[beautiful-celebs-pics]

Thomasin Mckenzie

[wherever-i-look-blog]

Eileen (2023) – Review and Summary https://tinyurl.com/ylrg8wjw

[film-book]

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EILEEN (2023) Movie Trailer: Anne Hathaway & Thomasin McKenzie star in William Oldroyd's Crime Thriller https://film-book.com/eileen-2023-movie-trailer-anne-hathaway-thomasin-mckenzie-star-in-william-oldroyds-crime-thriller/?feed_id=90954&_unique_id=652fd7695a8a9

[gavparf]

#LastNightInSoho #OriginalMotionPictureScore #EdgarWright #StevenPrice #Mondo #FocusFeatures #BackLotMusic #MondoRecords #ColouredVinyl #Vinyl #YellowVinyl #PurpleVinyl #TheWho #TheKinks #CillaBlack #SandieShaw #DustySpringfield #AnyaTaylorJoy #SiouxsieAndTheBanshees #TheArtofSoundtracks #ThomasinMckenzie #MattSmith #TerenceStamp #Soho #Film4 (at 76 Totter's Lane) https://www.instagram.com/p/CklUTBTsIz7/?igshid=NGJjMDIxMWI=

[xarliclub]

#Eileen cuando estás en el fondo, cualquier persona puede ser un buen ejemplo a seguir. Con #AnneHathaway y #ThomasinMcKenzie

#xarliclub #movie #movies #film #films #cine #cinema #peli #pelis #pelicula #peliculas #streaming

#PrimeVideo #AmazonPrime

[movienized-com]

Totally Completely Fine

Totally Completely Fine (Serie 2023) #ThomasinMcKenzie #ContessaTreffone #RowanWitt #BrandonMcClelland #LexieHallett #EdgarVittorino Mehr auf:

Serie Jahr: 2023- (April) Genre: Comedy / Drama Hauptrollen: Thomasin McKenzie, Contessa Treffone, Rowan Witt, Brandon McClelland, Lexie Hallett, Édgar Vittorino, Max Crean, Alan Dukes, Brigid Zengeni, John Noble, James Sweeny, Devon Terrell, Geneviève Lemon, Ruby O’Kelly … Serienbeschreibung: Die Serie folgt Vivian Cunningham, die Menschen hilft, die sich zu nah an den Rand bringen, während…

[gettingscrazy]

Thomasin McKenzie - Esquire UK, October 2021

[pete-polaputt]

Last Night in Soho #fanart #anyataylorjoy #thomasinmckenzie #edgarwright #sketching #drawing #painting #watercolor #watercolour #romanszmalaquarius #romanszmalwatercolor #baohongwatercolorsketchbook #poscapens #sakuramilkywhitepen https://www.instagram.com/p/Ccx5zV2vVj7/?igshid=NGJjMDIxMWI=

[doomonfilm]

Review : The Power of the Dog (2021)

Having a film pop on one radar is normally enough for me... I had noticed The Power of the Dog on different lists of 2021 film releases, and of course, as a Netflix user, I saw it listed in my queue, but other than making the list, my interest was not piqued.  Then, earlier this week, the Golden Globes dropped their list of nominations, and The Power of the Dog was all over the film categories, and immediately, the film jumped up my list.  While prepping, I noticed that Thomasin McKenzie was a member of the cast, and after her performance in Last Night in Soho, I was fully hooked and on board for a viewing.

Maybe it’s just due to the fact that the Old West is a long bygone era, but outside of the highly stylized films in the Western genre, most Western movies have an ingrained sense of tension baked into them... perhaps it’s due to the sense of despair that comes with living by your wits in a world of have-nots, or perhaps it’s due to the built-in patriarchal code of ethics that comes with the gunslinger and cowboy era, but even the most mundane goings on feel potentially explosive.  That being said, there is something about The Power of the Dog that encompasses this aspect of the Western in spades, and all of this is present from the opening moments based on a combination of how the story arc that Benedict Cumberbatch, Jesse Plemons and Kirsten Dunst share is set up both visually and purely based on physicality.  As the narrative unfolds, we get touches of classic Western aesthetics and practices thanks in large part to Cumberbatch’s all-in sinister nature as Phil Burbank that stand in stark contrast to the modernity and humanity that unfolds in the path that is shared between Dunst’s Rose Gordon and Plemons’ George Burbank.  While George displays good intentions, he seems much more aware of the rift between himself and Phil than he does how much he’s disrupted Rose’s world by putting her in the center of attention spot in a time where not only most women tend to “know their place” (at the risk of using an outdated term), but also by trying to steer her out of the deep protective focus for her son Peter without so much as asking her thoughts on it, which is doubly ironic when considered that the connection between George and Rose was sparked because of Peter and Rose’s shared hurt.

Seeing romantic and controversial aspects of Western life through the lens of Jane Campion adds new shades to the collected familiar tales we’ve come to be familiar with, and her passion as a writer/director shows in the work presented.  The romantic arcs in The Power of the Dog turn the concept of the Bechdel Test on its head by forcing the male characters to be the ones that deal with emotional waves on a raw and visceral level, while leaving Rose Gordon to be the tragic figure that falls apart under the weight of expectations and pressure.  George Burbank is propped up as the male of the future who is seemingly in-touch with his manhood and femininity, while Phil is put forth as a more stereotypical male figure who is unable to face their deep-rooted issues, and therefore, is prone to misplacing their aggression by way of verbal and physical lashing out.  In light of these initial setups, Peter Gordon is brought into the picture as a literal slap in the face to Phil based on how in-touch he is with himself at such a young age, and from Phil’s perspective, how the characteristics that Peter cherishes fly in the face of the male image.  Based on the triangular setup of the main leads with Phil as a satellite element, layers upon layers of conflict and tension emerges that not only brings the viewer lots of discovery, but creates a rewarding narrative ripple effect that moves the story forward. 

One of the immediate standout aspects of the film is the cinematography of Ari Wegner, whose highly stylized plains photography, multi-level focused wide shots and deeply uncomfortable close-ups not only capture beauty, but fuel tension right from the beginning, even when one can’t put their finger on what they should be uneasy about.  The score goes great lengths in keeping the tension palatable as well, with alternating small groupings of instruments and solo offerings that hit dissonant notes doing much of the heavy lifting while sparse symphonic interjections do the bridgework.  The Power of the Dog has some of the strongest capture of natural lighting and candle-based lighting that I’ve seen and years, and when night falls (or we find ourselves in less fortunate locations), the work done with shadows and sparse lighting is downright phenomenal.  While this film dwells in more of a low key world outside of the outlaw life, it must be noted how elaborate the costuming, hair and make-up is in the appropriate areas, with just as much focus given on the cowboy costuming in order to create a natural order that is immediately recognizable upon sight.  Breaking the film up into chapters helps pace things out beautifully, allowing for each particular element to get weighted moments before they shift into both predictable and unforeseeable directions.

Benedict Cumberbatch turns in one of the most moving and dynamic performances of the year, straddling the fence perfectly between posturing male toxicity and a man deeply afraid to face a true nature he tries to inwardly embrace while hiding it outwardly based on his societal positioning.  Jesse Plemons helps to fade the initial heat off of the Cumberbatch arc by playing the sympathetic white knight with an honest nature that is sadly unaware of any damage he does that doesn’t impact his pocket.  Kirsten Dunst goes to pieces under the pressure of expectation in a secret manner while displaying innate motherly instincts in the hopes of protecting her character’s son.  Kodi Smit-McPhee exudes shades of youthful innocence, but much like the motherly character Dunst portrays, McPhee’s son characterization also hides much of his truth beneath a public veneer that is partly self-aware and partly based on self-protection.  Genevieve Lemon and Thomasin McKenzie bring light touches of comedic joy to a deeply moody household.  The cast is rounded out by brief appearances for characters that hold weight in the Burbank world, including Keith Carradine, Frances Conroy, Peter Carroll, Alison Bruce, Sean Keenan, Adam Beach, Maeson Stone Skuccedal, Alice Englert and many more.

It’s not surprising that The Power of the Dog made such a strong nomination showing for the upcoming Golden Globes ceremony, as that particular ceremony is strongly fueled by the non-technical aspects, and The Power of the Dog shines in terms of performances.  I won’t be surprised if the film gets a Best Cinematography nod for the Oscars on top of the near categorical nomination sweep it has achieved at the Golden Globes.  This is a huge step in the right direction for Netflix as a production house, and if Campion and company are able to bring some statues home this award season, it could bolster the quality of output we see for the long run. 

[twotrey23]

Crazy #Netflix @netflix #awards delivery #2 today: #ThePowerOfTheDog @powerofthedogfilm novel, key ring, & paper flower, but no screener. #JaneCampion #ThomasSavage #BenedictCumberbatch #KirstenDunst @kirstendunst #JessePlemons #KodiSmitMcPhee @kodismitmcphee #ThomasinMcKenzie @thomasin.mckenzie #film #cinema #movies #films #Netflix @netflix #awardsseason #awardseason https://www.instagram.com/p/CWgrjcfhBZB/?utm_medium=tumblr

[beautiful-celebs-pics]

Thomasin Mckenzie

[adamwatchesmovies]

Old (2021)

I've never seen another movie tell the same tale as Old. This makes it unpredictable and interesting from the get-go. It also explains too much, which makes it easy to poke holes in its story. Whether you'll enjoy it depends entirely on your ability to suspend your disbelief.

Like many of M. Night Shyamalan’s films, the less you know going in, the better. This allows you to experience the strange goings-on as the characters do, which will distract from the loopy mechanics of this strange beach. Before going into more details and the premise, I'll tell you that it's worth checking out. You might find that it exploits a fear you didn’t even know you had. If some of it doesn’t seem to add up (such as Nikki Amuka-Bird’s character) just wait. Old doesn’t really have a twist. That word implies that everything you saw before will be turned on its head. What Old has is not the same as a reveal that “they were living in present-day the whole time” or “he was the hero’s father all along”!

With that said, the premise: Guy and Prisca Cappa (Gael García Bernal and Vicky Krieps) are vacationing with their six-year-old son Trent (Nolan River) and 11-year-old daughter Maddox (Alexa Swinton). While relaxing on an exclusive beach with some other resort guests, they suddenly begin aging one year for every thirty minutes.

Suddenly discovering your health will degenerate until death in a matter of hours or that your best years slipping through your fingers are real fears touched upon to various degrees. Even if the characters don’t explicitly express these, you feel it just looking at them. The way Shyamalan transitions between the different actors who play the same roles is effective. A different movie would’ve made the mistake of trying (and failing) to use computer effects to show rapid bursts of time. In Old, we follow enough characters that someone can walk away from the camera - for credible reasons - and then come back later looking completely different without making you feel like they’re cheating.

Though the dialogue is often stilted, the filmmaking is still good. Every second spent on the gorgeous sand with those beautiful cliffs and that pristine water is costing our protagonists a lot. You want them to hurry but an escape must be carefully planned - we see how fatal rushing things can be. Then, there are the internal dangers. Sometimes it’s a disease that goes untreated “for years”. In some cases, it's the psychological toll of losing your looks, your strength, your sight, your hearing, and your health. If you suffer from a mental disease, your mind might go. Someone on the beach snaps and they become an external danger. The premise also allows for quiet, contemplative moments as some people realize it’s too late for them, that all they can do is enjoy their twilight years.

Even when M. Night Shyamalan isn’t successful, his projects are interesting because they’re ambitious. Old shows that maybe he should get a co-writer to polish his dialogue and get a second opinion about which mysteries need to be left in the dark but it's more "good" than "bad". (November 7, 2021)

[film-book]

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EILEEN (2023): Sundance Film Festival Movie Positioned for Release During the Height of Awards Season https://film-book.com/eileen-2023-sundance-film-festival-movie-positioned-for-release-during-the-height-of-awards-season/?feed_id=76738&_unique_id=649e2810c63af

[nospoilerreviews]

The Power of The Dog - A story of a put-upon woman caught inside a toxic love triangle has so much more to offer than a glance might reveal. https://is.gd/ov5ebU

[murdermami]

[sereneicons]

thomasin mckenzie

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