GREEN ROOM is a brilliantly crafted and wickedly fun horror-thriller starring Patrick Stewart as a diabolical club owner who squares off against an unsuspecting but resilient young punk band. Down on their luck punk rockers The Ain’t Rights are finishing up a long and unsuccessful tour, and are about to call it quits when they get an unexpected booking at an isolated, run-down club deep in the backwoods of Oregon. What seems merely to be a third-rate gig escalates into something much more sinister when they witness an act of violence backstage that they weren’t meant to see. Now trapped backstage, they must face off against the club’s depraved owner, Darcy Banker (Stewart), a man who will do anything to protect the secrets of his nefarious enterprise. But while Darcy and his henchmen think the band will be easy to get rid of, The Ain’t Rights prove themselves much more cunning and capable than anyone expected, turning the tables on their unsuspecting captors and setting the stage for the ultimate life-or-death showdown. Intense, emotional, and ingeniously twisted, Green Room is genre filmmaking at its best and most original. Saulnier continues to build his reputation as one of the most exciting and distinctive directors working today, with a movie that’s completely different from his previous, highly acclaimed Blue Ruin, but which is just as risk-taking and even more full of twists. The entire cast deliver first-rate performances, but Patrick Stewart gives a transformative and brilliantly devious turn as Darcy-elegant yet lethal, droll yet terrifying, Stewart makes the film simply unforgettable.
Rick is a slave to the Hollywood system. He is addicted to success but simultaneously despairs at the emptiness of his life. He is at home in a world of illusions but seeks real life. Like the tarot card of the title, Rick is easily bored and needs outside stimulation. But the Knight of Cups is also an artist, a romantic and an adventurer. In Terrence Malick’s seventh film a gliding camera once again accompanies a tormented hero on his search for meaning. Once again a voiceover is laid over images which also seek their own authenticity. And once again Malick seems to put the world out of joint. His symphonic flow of images contrasts cold, functional architecture with the ageless beauty of nature. Rick’s internal monologue coalesces with the voices of the women who cross his path, women who represent different principles in life: while one lives in the real world, the other embodies beauty and sensuality. Which path will Rick choose? In the city of angels and the desert that surrounds it, will he find his own way?
Once there was a young prince whose father, the king of the East, sent him down into Egypt to find a pearl. But when the prince arrived, the people poured him a cup. Drinking it, he forgot he was the son of a king, forgot about the pearl and fell into a deep sleep.
Reserve Result. 