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Methapon khuanpo Empty Methapon khuanpo

Post by methapon on Thu Jun 21, 2018 7:10 pm

Its all about a Moive
On Saturnday I went to cinema with friends. I went there to watch a Hereditary it is a Horror.
Methapon khuanpo 9k=
he scariest thing in “Hereditary,” a movie well supplied with fear, is a noise. It’s the one that you make by flicking your tongue down from the roof of your mouth: klokk. Most of us rarely do this, unless moved by a desire to mimic the hoofbeats of a horse, but Charlie Graham (Milly Shapiro), a non-smiling girl of thirteen, klokks with unnerving frequency. It’s her signature sound, like the bing! emitted by the annoying guy in “Groundhog Day,” and her brother, Peter (Alex Wolff), who’s a few years older than Charlie, hears a klokk in the corner of his bedroom, after dark, even when she’s not there.

Or, at any rate, he thinks he does. Most of the folks in the film, which is written and directed by Ari Aster, don’t quite know what to believe, or how much they should trust their eyes and ears. The children’s mother, Annie (Toni Collette), can’t tell if her own emotions are correct. Her mother just passed away, and Annie is bemused, or half-ashamed, at feeling insufficiently sad. But then, as she admits at the funeral, her mother was a secretive person, possessed of “private rituals.” That phrase echoes around the story like a whisper in a cave. Scene after scene bears the hermetic rigor of a rite, one that outsidersor even other members of the householdmay struggle to understand.

This sense of enclosure, we come to realize, is a female preserve. Annie’s husband, Steve, may have troubles, too (weighty ones, given that he’s played by the eversombre Gabriel Byrne), but, in his case, the movie chooses not to pry. We never find out what he does for a living. Though Peter and his schoolmates observe their own customs, they do so gregariously, ganging together to smoke a bowl. About Charlie and Annie, on the other hand, we learn perhaps more than we would wish. Charlie solemnly scissors the head from a dead pigeonMichael Haneke’s “The White Ribbon” (2009) contains a similar avian outrageand combines odds and ends to make nightmaretinted toys. This charming gift of constructive improvisation is clearly inherited from Annie, who designs doll’s houses, replicating her own experience in miniature. One room, say, features a tiny version of her late mother, dressed in a white gown. Why, she could almost be alive!

Annie’s other hobbies include majestic monologues, in which she lays bare the roots of her grievances and griefs. We are no longer used to long speeches in American cinema, but, even when in fashion, their purpose was to rouse or to denouncethink of George C. Scott at the start of “Patton” (1970), or Al Pacino’s belligerent bellowing in “Scent of a Woman” (1992) and “Any Given Sunday” (1999). Annie, by contrast, sounds more like a fugitive from a Bergman film. As she recites her woes in a group-therapy session for the bereaved, or raves with indignation in front of Peter and Steve, tumbling over her words (“All I get back is that fucking face on your face”), the effect verges on the comic, and some of “Hereditary” can best be borne, or relieved, by means of a jittery laugh. The cruellest joke is delivered by the final credits, in which Judy Collins sings Joni Mitchell’s breezy “Both Sides Now”: “So many things I would have done / But clouds got in my way.” Indeed.

Methapon khuanpo M.2/3 no.13
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Methapon khuanpo Empty Re: Methapon khuanpo

Post by Teacher Daniel on Sat Jun 23, 2018 6:45 pm

Copy...

Next time, you may be deducted even -30 points.

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