Miriam Makeba Vinah Makeba Zachria Makeba Molly Parkin, 95 mins Returning to the rambling house where he and Eden once lived for the first time since the death of their son, Will finds himself inundated anew by his heartache, and the film, which otherwise hews to crisp, clean realism, is run through with these painful stabs of memory. Henry is a memorable monster, played by Ciarán Hinds with a bravura mixture of smug entitlement and oily needfulness that’s weirdly and unexpectedly poignant. After the film’s young characters wake up from being gassed in their sleep and find themselves strapped into impenetrable explosive vests, Mr. Peterson promptly gives his victims the obligatory rundown of his plan. Fanakalo is used for the mine scenes (it is the mining lingua franca), Afrikaans is used by the policeman who arrests Zacharia for a pass offence, Zulu is Zacharia's home language and English is used by the intellectuals in the shebeen scene. Whereas Close-Up handles dreams and art, this film handles reality’s misery in every crushing blow. It was almost impossible to get black artists out of South Africa at the time, and impossible for these artists to make a career outside of the country. Ironically, Mank doesn’t “combust” as Citizen Kane did because it lacks the very thing that Fincher seems to underrate as secondary to Mank’s writing and life experience: Welles’s showmanship. Joel rediscovers his love for Clementine through fantasy, which is to say through his clouded memories of her. Ballard about George Lucas’s Star Wars in a 1977 piece for Time Out. Like many of his other films, especially Fight Club, Zodiac, and The Social Network, Mank is a parable on the limits of control, fashioned with rueful self-awareness by one of Hollywood’s most famous contemporary control freaks. Bertino pushes a funereal quality to its breaking point, which is very much the intention, however maddening. The film was premiered at the 1959 Venice Film Festival. Neorealism at its most incisive. It feels righteously angry in a good way, but also just too unfocused. One shot, of Connie calling home from a payphone in an empty mall parking lot in the dead of night, is downright terrifying as she realizes that something bad could happen to her for staying out by herself too late. Marsh, Long before Robert Zemeckis re-envisioned the 1960s as the era America gave itself over to stupidity (to the delight of Rush Limbaugh’s dittoheads nationwide), he blasted the 1980s back into the 1950s with Back to the Future. Even without much in the way of actual pocket cash, Connie and her friends become different people while roaming stores. He also hired a publicity agent, and arranged her appearance at the Village Vanguard in New York City and her debut on The Steve Allen Show. It’s a billet-doux by proxy, ghost-authored, dictated to a machine. Summary: Zachariah comes to Johannesburg, having been forced out of his KwaZulu village in southeast South Africa by famine. Mank’s outburst toward Hearst and those in the newspaper magnate’s company, including the former’s thorn-in-the-side, producer Louis B. Mayer (Arliss Howard), is heartbreaking, while his showdown with Welles, which mirrors Charles Foster Kane’s explosion of rage in Citizen Kane’s third act, indulges the sort of biopic patness that Fincher seems to fancy himself above. This disturbing material is reminiscent of other films dealing with grief and marital collapse—especially Sam Peckinpah’s Straw Dogs and Lars von Trier’s Antichrist, the latter of which also informs the impressively primordial look of the woods here—yet Koko-di Koko-da is nowhere near as impactful. Was the acting pure trash at times? Some of these depictions are humorous, others haunting. However, if we go by an infamous expression in Supreme Court Justice Potter Stewart’s opinion in the obscenity case Jacobellis v. Ohio—“I know it when I see it”—then we might end up bringing the gavel down on Joe Marcantonio’s adaptation of Octavia Butler’s 1979 novel Kindred.
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