The time has come for someone to produce a rolled-up newspaper the size of a subway train and bring it down with an almighty crash" - Peter Bradshaw, The Guardian 49. What the critics said "As he scampers around the bathtub of popular culture, Spidey is beginning to exhaust everyone's patience. Simmons chewing up Peter, and the screen, with his trademark gusto.
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Audiences lapped it up - it remains Sony Picture's biggest grossing movie - but with Sam Raimi at the helm and a small army of FX gurus on board, it could and should have been so much more. Three villains might've been a good thing had they not trampled all over each other's screentime and narrative coherence.
Why it's on the list The one where Spidey went dark, we got three villains for the price of one as a lump of unexplained space goo drives Peter Parker to the eyeliner drawer.
Nekrasova takes some admirably big chances with “The Scary of Sixty-First,” such as daring to startle the audience with a scene based on Epstein’s death by strangulation and pushing multiple sex scenes beyond the boundaries of merely “transgressive.Who's responsible? Director/writer Sam Raimi, co-writing brother Ivan and screenwriter Alvin Sargent, an unholy alliance of studio suits and Venom fans, including producer Avi Arad. And, back at the apartment, Addie speaks in a squeaky “little girl” voice and rolls around half-naked with children’s toys and pictures of some of Epstein’s famous friends. The last half of the film mostly consists of repeated scenes of Noelle and the stranger walking around New York and swapping increasingly paranoid Epstein theories. (When Addie has a nightmarish vision of one of Epstein’s creepy hot-oil massages, he responds, leeringly, with, “What kind of oil?”)īut after a promising opening, the plot goes in circles. Some of the sharpest social critiques in “The Scary of Sixty-First” come via Greg, who represents a paternalistic society where men see their sexual desires as paramount. Mark Rapaport has most of the film’s best moments, playing Addie’s oversexed, dim-bulb boyfriend, Greg. After an anonymous stranger (played by Nekrasova) shows up and claims the ladies are living in one of Epstein’s old sex dens, Noelle falls down a rabbit hole of “dark web” research while Addie starts behaving strangely, seemingly possessed by one of Epstein’s underage assault victims. Madeline Quinn (who also co-wrote the script) plays Noelle, who against her better judgment moves into a fancy Manhattan apartment with Addie (Betsey Brown), a casual friend she finds annoying. “The Scary of Sixty-First” sprinkles a few funny lines and some striking images across its 81-minute running time, but it’s dispiritingly shaggy for such a short movie.
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It’s hard not to be impressed by the sheer level of ambition in writer-director Dasha Nekrasova’s debut feature, “The Scary of Sixty-First.” Shot on 16-millimeter film, the movie is partly a mumblecore comedy about self-absorbed 20-somethings, partly a series of riffs on bloody Italian “giallo” thrillers and Stanley Kubrick’s “Eyes Wide Shut,” and partly - no kidding - a deep dive into the conspiracy theories surrounding the life and death of billionaire sex offender Jeffrey Epstein.īut grand ideas don’t automatically produce great cinema. Because moviegoing carries risks during this time, we remind readers to follow health and safety guidelines as outlined by the Centers for Disease Control and Prevention and local health officials.
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