A crazy vampire with an obsession and a sexually repressed CEO who finds a spark with a brand new intern get their stories told on screen starting this week, with somewhat various degrees of success.
Here are our reviews.
“Nosferatu”: Old-school horror fans get going and breathe a sigh of relief. From the primary second of Robert Eggers' charming adaptation of Bram Stoker/FW Murnau's vampire classics, the concern creeps in that the detail-loving director behind “The Witch” and “The Lighthouse” might screw up certainly one of your best movies. Favorites are unjustified . With an ominous gothic look that borders on the picturesque and filled with striking period production designs and costumes, Nosferatu will seduce you with its eerie eye candy and erotic undertones.
But most of all, “Nosferatu” offers Eggers the possibility to mess around in a large gothic sandbox with a few of his favorite collaborators — including cinematographer Jarin Blaschke, composer Robin Carolan, production designer Craig Lathrop, sound designer Damian Volpe and costume designer Linda Muir. They all deserve accolades for putting a lot effort into making a definitive version of the Drac legend that should be seen and heard on the massive screen. Eggers was practically born to make this film. You even say it's in his blood. Details: 4 out of 4 stars; in theaters on December twenty fifth.
“Baby Girl”: Sexually unsatisfied CEO Romy (Nicole Kidman) becomes understandably hot and bothered by the presence of very outgoing, cocky latest intern Samuel (Harris Dickinson) in Halina Reijn's exploration of an achieved woman, wife and mother who discovers the sinister power that comes with brings herself to tap into her uninhibited desires. It's doubtful whether wealthy New Yorker Romy has ever experienced an orgasm before Samuel enters the scene. Samuel seems to sense that something is holding back this successful woman who has worked hard to climb the company ladder in a male-dominated world. The duo engage within the type of kinky affair—she pours milk right into a bowl, he pulls up his tie—that will send anyone in HR running screaming from the constructing. Meanwhile, Romy's handsome theater director husband Jacob (Antonio Banderas) initially suspects nothing. Babygirl's best asset is that it refuses to evaluate its predominant character for wanting all of it – a successful profession and a successful sex life. Kidman's Romy is a dawning example of entrenched female empowerment, while her hyper-efficient assistant Esme (Sophie Wilde) has a healthier, more honest view of each aspect of her life. The same goes for Samuel, who will be caring and willing to play dominance despite being aware that the Romy-Jacob union is clinging to a declining paradigm of what a wedding needs to be. “Babygirl” pings with such promising ideas, but unfortunately they are sometimes not explored with the depth they deserve. It's a shame considering there are moments where everyone within the solid did a superb job, together with some racy bits and an important ending that defies the patriarchal codes of conduct that also apply to women in the company world. the door closes. Details: 2½ stars; hits theaters on December twenty fifth.
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