Oddly, April is going to be a month full of genre films, but it’s also a month that might make some wonder whether any of the new movies can open with more than $20 million, putting theaters back into the place they were back in January and February. Read on for Gold Derby’s April 2024 box office preview.
“Civil War” (A24 – April 12)
Considering how Alex Garland‘s previous films “Men” and “Annihilation” were received, it’s hard to believe that his edgy political apocalyptic thriller could be one of the biggest movies of this month, but it’s also likely to be A24’s first movie to hit #1 on the weekend after 10 years of releases. Starring Kirsten Dunst, Cailee Spaeny, Nick Offerman, Jesse Plemons and Wagner Moura, Garland’s latest premiered at the SXSW Film and TV Festival, where it received mostly positive reviews. With the timeliness of the topic,...
“Civil War” (A24 – April 12)
Considering how Alex Garland‘s previous films “Men” and “Annihilation” were received, it’s hard to believe that his edgy political apocalyptic thriller could be one of the biggest movies of this month, but it’s also likely to be A24’s first movie to hit #1 on the weekend after 10 years of releases. Starring Kirsten Dunst, Cailee Spaeny, Nick Offerman, Jesse Plemons and Wagner Moura, Garland’s latest premiered at the SXSW Film and TV Festival, where it received mostly positive reviews. With the timeliness of the topic,...
- 3/28/2024
- by Edward Douglas
- Gold Derby
In 2022, then-Vox writer Emily St. James coined a catchy phrase to describe an emerging cinematic trend: the “millennial parental apology fantasy.” Daniels’s Everything Everywhere All at Once and Domee Shi’s Turning Red represented the tip of the spear for a cohort of films, usually with explicitly or understood queer themes, that sought to reverse the tide of intergenerational trauma by demanding expiation from its source. Just a year later, however, All of Us Strangers proves that St. James’s term has already outlived its usefulness, what with 1970s-born writer-director Andrew Haigh and star Andrew Scott demonstrating that the dream isn’t exclusively the provenance of a single generation.
Haigh transposes and queers Yamada Taichi’s 1987 novel Strangers to contemporary London, where Scott’s reserved screenwriter, Adam, dwells in a new and largely unoccupied tower block. From outside the building one evening, he peers curiously into the only other tenanted unit.
Haigh transposes and queers Yamada Taichi’s 1987 novel Strangers to contemporary London, where Scott’s reserved screenwriter, Adam, dwells in a new and largely unoccupied tower block. From outside the building one evening, he peers curiously into the only other tenanted unit.
- 9/25/2023
- by Ed Gonzalez
- Slant Magazine
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