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Badlands is a 1973 American neo-noir period crime drama film written, produced and directed by Terrence Malick, in his directorial debut. The film stars Martin Sheen and Sissy Spacek, and follows Holly Sargis (Spacek), a 15-year old who goes on a killing spree with her partner, Kit Carruthers (Sheen); the film also stars Warren Oates and Ramon Bieri. While the story is fictional, it is loosely based on the real-life murder spree of Charles Starkweather and his girlfriend, Caril Ann Fugate, in 1958.
Holly, who has grown tired of Kit and life on the run, refuses to go with him and turns herself in. Kit leads the police on a car chase but is soon caught. He charms the arresting officers and National Guard troops, tossing them his personal belongings as souvenirs of his crime spree. Holly reveals at the end that she received probation and married her defense attorney's son, and Kit was executed for his crimes.
Kurt Kunkle is a teenager who is obsessed with social media. One of the drivers of a ridesharing company called Spree, Kurt devises a fatal plan to promote the company and go viral on social media. The only person who can stop Kurt from participating in a murder spree in his camera-filled vehicle is a comedian with various ideas to become a star.
Toho International has also partnered with Alamo Drafthouse to host screenings ofthe original 1954 Godzilla film. Presented in Japanese with English subtitles, Godzilla will screen at Alamo locations across the country on Nov. 3, with additional screenings at select locations.
Reign of terror. In English and in French, with English subtitles. Running time: 85 minutes. Rated R (savage violence, profanity, sexual situations). At the Empire, the Chelsea, the 86th Street East, others.
(5 of 6) Ha-ha. Bernanke is right. The dollar strengthened because panicky investors were desperate for safe assets; that's why the swaps were so desperately needed. Unfortunately, YouTube doesn't provide Fed-to-English subtitles.
The Buying Binge. Bernanke wasn't kidding in 2002 when he claimed the Fed would still have ammunition to stimulate the economy if interest rates ever hit zero. This year he's gone on an astonishing shopping spree with conjured money, including a $1.25 trillion foray into mortgage-backed securities that represents an unprecedented intervention into a specific economic sector. The Fed has not only injected more liquidity into the economy but has directed it at the battered housing market, helping slash mortgage rates to their lowest levels since the 1940s. (The Bernankes recently refinanced their Capitol Hill townhouse after their adjustable-rate mortgage exploded, switching to a 30-year fixed rate of about 5%.) The Fed plans to stop buying next spring, but it's not clear when it will start thinning its bloated balance sheet. (Watch the video "Why TIME Chose Ben Bernanke.")
Muller brought the long-running Noir City Film Festival to Austin for its inaugural Texas crime spree last year (see "Dark Times in Austin With Noir City," Feb. 16, 2014). Returning to the scene of the crime, he's celebrating Woolrich's work, with 10 of the 11 titles screening based on his work. Inspired by last year's success, and the fact that Drafthouse booker Tommy Swenson is a Woolrich fan, he said, "It seemed inevitable; why don't I do a whole festival based on his stories?"
Noir City II's international highlight may be a double bill of No Abras Nunca esa Puerta (Never Open That Door) and Si Muero Antes de Despertar (If I Die Before I Wake): two Argentinian adaptations, previously unreleased in the U.S. Aside from screening noir films, Muller is the genre's great gumshoe, sleuthing across the globe for lost treasures. He got the hot tip on these twins from Fernando Martín Peña, chief film curator at the Museo de Arte Latinoamericano de Buenos Aires. Muller said, "He is the leading cinephile in Argentina, and this extraordinary person whose life is dedicated to movies. On my second trip down there, he said, 'Set aside a day. I'm off on this day, the museum is closed, we'll go in and I'll show you films from my private collection.'" Even though Muller doesn't speak Spanish, the power of Woolrich's narratives shone through on the 16mm print. "They were not translated, and I completely understood what was going on." Thick as thieves, the two collaborated: Peña hunted down original prints and negatives, while Muller put together the resources and finance to have new 35mm prints struck, with English language subtitles. "They're every bit as good, if not better, than the Hollywood adaptations," Muller said. "It's a revelation for people to see what was being done in Buenos Aires in 1952 with Woolrich."
1. According to Bela Bajaria, who, as honcho-in-chief of Global TV at Netflix, reports to Co-CEO and Chief Content Officer, Ted Sarandos, as on Aug 2021, 97% of American subs have watched a non-English title in the past year. That number is monumental. But even more remarkable is the trajectory- that number grew by 71% since 2019. Also, the Big N has made shows in 40 countries and does subtitles in 37 languages and dubs in 34. Wasn't it just last year, that #BongJoonHo asked audiences at the Oscars to overcome the one-inch tall barrier of subtitles?
Yeah, living in a small town in Arizona with 800 kids at the high school and only decrepit old people outside of it doesn't help. My high school just got a little anime club, but only 6 or 7 of the 40 of us have seen anything besides Bleach and Naruto on Cartoon Network or Nickelodeon, and half of those are hardcore shoujo fanatics *shudder*. It saddened me when our foreign exchange student from Argentina, whose second language is English, had an easier time reading the subtitles than some of our native speakers.
NEW RELEASES AFTER LIFE (NOT RATED) Director: Hirokazu Kore-Eda. With Oda Erika, Arata, Naito Taketoshi, Tani Kei, Naito Takashi, Terajima Susumu, Iseya Yusuke. (118 min.) +++ The setting of this gentle Japanese allegory is a homely old building where newly deceased people are asked to choose their most valued memory, which is then preserved by being filmed on a movie set. The premise seems strained at first, but the fantasy builds delicate emotional power as it explores the lives and wishes of its ghostly "movie producers" as well as the people they're trying to serve. In Japanese with subtitles.
LEILA (NOT RATED) Director: Dariush Mehrjui. With Leila Hatami, Ali Mosaffa, Jamileh Sheikhi, Mohammad Reza Sharifinia, Turan Mehrzad, Amir Pievar. (102 min.) ++++ Superb acting and imaginative filmmaking bring emotional depth to this drama about a young Iranian man who's pressured by relatives to take a second wife in order to have children, even though he's thoroughly in love with his present spouse and finds his family life fulfilling exactly the way it is. Exceptional even by the high standards of Iranian film in the 1990s. In Farsi with subtitles.
THE KING OF MASKS (NOT RATED) Director: Wu Tianming. With Zhu Xu, Zhou Ren-Ying, Zhang Riuyang, Zhao Zhigang. (101 min.) +++ Dwelling in a rigidly traditional society that values youth over age and males over females, an old Chinese entertainer and a homeless little girl become unlikely partners in the quest for a reasonably contented life. The story becomes slow and repetitive during its long middle section, but the acting is expressive, and some of the cinematography is dazzling. In Mandarin, with subtitles.
OPEN YOUR EYES (R) Director: Alejandro Amenbar. With Eduardo Noriega, Penlope Cruz, Najwa Nimri, Chete Lera. (110 min.) +++ This extremely clever Spanish thriller starts as the romantic story of a young man and his jealous lover, then becomes a tale of physical and emotional trauma, and finally plunges into surreal mystery and science-fiction pyrotechnics. That may sound like a hodgepodge, but Amenbar weaves a smooth-ly flowing tale that's as gripping as it is unpredictable. In Spanish, with subtitles. Sex/Nudity: 3 instances of sex and/or innuendo. Violence: 6 instances. Profanity: 67 expressions. Drugs: 7 scenes with smoking and/ or drinking, 2 with drugs.
PUSHER (NOT RATED) Director: Nicolas Winding Refn. With Kim Bodnia, Laura Drasbaek, Zlatko Buric, Slavko Labovic. (105 min.) +++ The life and times of a Danish drug dealer in trouble with dangerous colleagues. The action is horrific at times, but it adds up to a vigorous message about the hazards of a criminal life. In Danish, with subtitles.
XIU XIU: THE SENT-DOWN GIRL (R) Director: Joan Chen. With Lu Lu, Lopsang, Gao Jie, Li Qianqian.(99 min.) +++ During the Cultural Revolution about three decades ago, a Chinese teenager leaves home for an educational experience in the countryside, where she is brutally exploited by men holding power in the region. Chinese authorities have censored this movie, apparently upset at its negative treatment of a disturbing subject, but audiences are likely to find its candor as honest as it is unsettling. In Mandarin, with subtitles.
OUT ON VIDEO ANOTHER DAY IN PARADISE (R) Director: Larry Clark. With James Woods, Vincent Kartheiser, Melanie Griffith. (101 min.) ++ An experienced thug invites a drug-abusing teenager to become his protg, leading to a violent crime spree. Clark's first movie since the controversial "Kids" manages to be jarringly naturalistic.
There are, of course, numerous films aboutthe conflicts between European Americansand Native Americans in the Great Plains.These movies, like the writing of history itself,tell as much about the times in which theywere made as they do about the times theyportray. During the course of fifty years inmovies, Plains Native Americans have gonefrom "savage" to "noble survivor," while at thesame time Gen. George Armstrong Custer hasgone from conquering hero to arrogant fool.Significant Plains films in this transition includeSoldier Blue (Ralph Nelson, 1970), whichgraphically depicts the atrocities of the 1864Sand Creek Massacre, and Arthur Penn's audaciousLittle Big Man (also 1970), which takesthe 120-year-old Jack Crabb through virtuallyevery event of the Plains Indian wars. However,these films are as much about Vietnamand My Lai as they are about Native Americans.Dances with Wolves, for all its romanticizingand revising of Plains Indian life(Pawnees were hardly the aggressors in theirconflicts with Lakotas), goes farther than mostother Westerns by giving Native American actorsprominent roles and by employing Lakotain the dialogue, with English subtitles. Inmany respects, Costner's film can be seen as asuccessor to Elliot Silverstein's A Man Called Horse (1970), which also uses Native Americanactors and language as the setting for a EuropeanAmerican's heroics and distorts historyin the process. 781b155fdc