But they’re quick to come and go, leaving the movie without anything so distinctive to hang its hat upon. Here's how the thriller starring Lily James puts its own spin on the story. Taken on their own terms, Thomas’s scenes with James are the duets of skillful actors, with Mrs. Danvers playing the younger woman like a quivering, stringed instrument. The film starts like the beginning of a ghost story.
A stoic, sepulchral presence casting one of the most distinctly sinister silhouettes in cinema history, Mrs. Danvers is an avatar of grief hardening into misanthropy, a keen-eyed watchdog frothing silently against would-be intruders.
Ben Wheatley, the British director of Netflix’s new “Rebecca” (streaming Wednesday), doesn't think there's "anyone left alive who went to the premiere of that film.
The reproduction, modification, distribution, or republication of the content (including RSS feeds) without permission is strictly prohibited. Rebecca is a drama about the all-consuming nature of obsession, and a woman whose spooky charisma and sheer force of personality were enough to control the people around her in life and in death. The phony romanticism of Hammer’s acting in the prologue gives way to a pressurized agitation suggesting that Max is suffering his own private, parallel anxieties about his too-hasty marriage. Written in 1938, du Maurier’s novel concerns a nameless young woman of middling parentage and prospects who is romanced—unexpectedly and passionately, if also a bit mechanically—by the wealthy, debonair widower Maxim de Winter, an exceptionally eligible bachelor. For both Hitchcock and PTA, the seemingly imbalanced power dynamic between the actors created a shorthand for what was going on in the narrative, allowing them to draw audiences in to their protagonists’ plights while also accessing their shared and uncanny sense of defiance. Perhaps trying to justify his billing as a millennial master of horror, Wheatley attempts a few shivery, hallucinatory horror-movie images: submerged figures, creeping CGI vines, and a deep-red nightmare. All rights reserved. Plus: Kevin Clark and Mike Tannenbaum discuss potential trades that could come before the deadline, ‘The Mandalorian’ exposes a truism about the franchise: ‘Star Wars’ needs to be fun, J. Kyle Mann dissects the Israeli draft prospect and breaks down his strengths and weaknesses, Plus, a roundup of some of the rest of the Champions League fixtures, including another impressive Joshua Kimmich performance for Bayern, This week on ‘Binge Mode,’ it’s a showdown between Emil "Abomination" Blonsky and Thunderbolt Ross, The backstory of the coldest group in hip-hop history, as told through their classic 1993 single, Content ©2020 The Ringer All Rights Reserved. It’s not an unpleasant watch, but what’s frustrating is that a witty, satirically-minded filmmaker like Wheatley could have recognized the comic potential inherent in trying to reboot a cautionary fable about the anxiety of influence.
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