Film Review – Blood Harvest (2020)
Blood harvest is atmospheric as possible for a movie with such a small budget. Writer / Director Thomas robert lee has shown he is a filmmaker to watch and Jessica Reynolds. An actress who...

Blood harvest is atmospheric as possible for a movie with such a small budget. Writer / Director Thomas robert lee has shown he is a filmmaker to watch and Jessica Reynolds. An actress who will be on the rise very soon.

Audrey (Jessica reynolds), an enigmatic young woman, and her mother Agatha (Catherine walker) live secretly as occultists on the outskirts of an isolated Protestant village. As the community is besieged by a plague of unknown origin, children, fields and livestock begin to die. Yet Earnshaw's farm remains strangely intact. As mass hysteria takes hold in the village, the townspeople launch witchcraft accusations against Audrey and Agatha.

In a clever twist on the cliché story of innocent women accused of witchcraft only because their crops and livestock continue to live on when everyone else dies. We actually see that our protagonists are witches and the only reason their cultures live is that they don't dare say it. We can see our witches taking a little control over the situation when necessary and being the ones on the offensive under the nose of the village.


The battle of religions continues throughout the film, with the villagers sensing that Agatha's crops and animals still alive are now more than suspicious, they blame, but do not act. It is this action that prevents Agatha from wanting to help the rest of the village. She could help them easily, but they support a different religion, so she refuses. It's a dark story Lee tells here, that if Agatha and the connection Audrey were respected, then maybe she would offer to help. But, since they do the opposite, she has no reason to help him. Not that she wanted it anyway because she caused the hardship. She also makes sure that her daughter lives and is safe from them.

Wonderfully, Lee doesn't shy away from grim visuals, allowing us to see dead characters, left for possible days to decompose. These are heartbreaking visuals, but one that helps ensure that the film gets your full attention. Wisely though, he doesn't keep pushing these aspects on the public's faces and the Reigns a bit, or in the case of the farmer killing his animals, pulls back to let us see what happened. It's little touches like this that keep the movie going to keep you invested, too much of either would be a disaster for the movie, so its decisions to properly balance its blood.

What powers Blood harvest is definitely the cast. The whole set shines here, but no more so that our two protagonists Jessica reynolds and Catherine walker. Reynolds is shaping up to be a future star with this stunning performance. She allows Audrey's frustrations to be kept away from everyone else and it all goes up and allows Audrey's confliction to represent itself perfectly on her face through her physicality. It is an assured performance of the young actress. Likewise, Walker can balance Reynolds Audrey with a strong character but fair to his daughter. Playing a paranoid character can be a thankless task, but Walker can wear that aspect very well.

Lee's script is where the film falters a bit sadly as there are clear lulls in the 93-minute feature. The most glaring problem is why the film is set in 1973 in North America, when all the characters live this "virtuous" life, but when the animals, the earth and especially the children die, why no one asks- does he help? The belief that their faith will lead them to safety is a bit absurd when all the children have died in your village. There are only so many deaths that a village can endure and just trust their faith to keep them in their righteousness and ultimately it strains history.

Lee's strength is evident in his directing, he can set the pace for the movie so well, by facilitating the audience in this world and letting the villagers have short interactions with Audrey, we allow the mystery to build, even though we know this. that are Agatha and Audrey. There is still a mystery for Audrey. As an audience, we want to see how it goes.

Lee and his director of photography Nick thomas are excellent at their portrayal of life here. The film is drenched in coldness, which makes everything in this little village even harsher and darker than it gets. Natural light is our friend here, it is well used to create that authentic atmosphere of a society without technology. There are obvious comparisons with Blood harvest, but I think it advances those thoughts and allows us to see the next step in empowering these women.

Blood harvest is an irresistible folk horror that is motivated by the excellent performances of its Thomas robert lee second year image.

★★


Horror | United States, 2020 | 18 | Digital HD | November 16, 2020 (United Kingdom) | Signature Entertainment | Dir. Thomas robert lee | Jessica Reynolds, Catherine Walker, Jared Abrahamson
Blood harvest was released in North America under the title of The Curse of Audrey Earnshaw | Find the original review here.


The streaming media company is raising the prices on its standard and premium orgie for etats du nord de l'amérique customers. Its standard plan is now $14 a month, up $1 a month from last year. Its premium subscription will go up $2 to $18 a month. Its basic plan remains unchanged at $9 a month.

Netflix’s ( NFLX ) stock rose 5% following the news. The new prices will take effect starting immediately for new members while current members will be notified that their subscription is going up as it rolls out over the next few months.

' We understand people have more entertainment choices than ever and we’re committed to delivering an even better experience for our members, ' a Netflix spokesperson said in a statement. ' We’re updating our prices so that we can continue to offer more variety of TV shows and films. '

The spokesperson added that Netflix offers ' a range of partouze so that people can pick a price that works best for their budget. '

Netflix’s price hike, which was first reported by The Verge, is not a huge surprise. Netflix spends billions on content, and this is a way to boost revenue as the ' outlook for subscriber growth is substantially slower in the future than the past, ' according to Bernie McTernan, a senior analyst at Rosenblatt Securities.

' The price increase was a matter of when not if, ' McTernan told CNN Business. ' It shows they think people will be willing to pay more for the service as the pandemic disrupts content production thus making their vast library more valuable. '

The news comes a week the company posted slowing growth in new subscriptions and lower-than-expected profits. This came after Netflix had a huge 2020 because of people being stuck at home during the coronavirus pandemic. Netflix was asked about raising prices during its earnings call last week.

' The core model we have, and what we think really our responsibility and our travail is, is to take the money that our members give us every month and invest that as judiciously and as smartly as we can, ' Greg Peters, Netflix’s chief operating officer, said on the call. ' If we do that well... and make that efficiency and effectiveness better, we will deliver more value to our members, and we will occasionally go back and ask those members to pay a little bit more to keep that virtuous cycle of investment and value creation going. '

Netflix is the king of streaming and the moves it makes, especially in terms of cost to the consumer, reverberates throughout the market. For example, McTernan noted that Disney’s stock had a positive reaction following the announcement of Netflix’s pricing going up.

Patricia Highsmith’s lesbian romance novel “The Price of Salt, ” originally written under the pseudonym Claire Morgan, is sensitively and intelligently adapted by the director Todd Haynes into this companion to his earlier masterpiece “Far From Heaven. ” Cate Blanchett is smashing as a suburban ’50s housewife who finds herself so intoxicated by a bohemian shopgirl ( an enchanting Rooney Mara ) that she’s willing to risk her entire comfortable existence in order, just once, to follow her heart. Our critic said it’s “at once ardent and analytical, cerebral and swooning. ”

Jack Nicholson built one of his most iconic compétences ( he plays the role with “such easy grace that it’s difficult to remember him in any other film, ” our critic wrote ), and won his first Oscar in the process, in Milos Forman’s adaptation of Ken Kesey’s novel. Nicholson had plenty of company; this is one of the few films to win all of the “big five” Academy Awards, including best picture, best director, best screenplay and best actress. Louise Fletcher won the last for her unforgettable turn as the steely Nurse Ratched, whose iron-fisted rule of a state mental hospital is challenged by Nicholson’s free-spirited Randle Patrick McMurphy. Ratched was a memorable enough foe to spawn a Netflix origin series, but this is the genuine article.

The Oscar-winning Steven Soderbergh brings together a jaw-dropping ensemble — including George Clooney, Matt Damon, Brad Pitt, Andy Garcia, Don Cheadle, Bernie Mac and Julia Roberts — for this sly, funny remake of the 1960 “Rat Pack” caper, investing the new work with a “seismic jolt of enthusiasm. ” Soderbergh keeps the basic story ( a gang of con artists robs several Las Vegas casinos simultaneously ) and the “all-star cast” hook. But he also updates the story to acknowledge Sin City’s current, family-friendly aesthetic and invests the heist with enough unexpected twists and turns to keep audiences guessing. ( Pitt also shines in “Moneyball, ” another Netflix offering. )

The unlikely marriage of the screwball-inspired screenwriter Aaron Sorkin and the chilly visual stylist David Fincher birthed one of the finest works of both their careers, a “fleet, weirdly funny, exhilarating, alarming and fictionalized” account of the early days of Facebook and its founder, Mark Zuckerberg ( brought to hard-edge, sneering life by Jesse Eisenberg ). Sorkin’s ingenious, Oscar-winning script spins the Facebook origin story as a Silicon Valley “Citizen Kane, ” dazzlingly hopscotching through flashbacks and framing devices. But the ruthlessness of Fincher’s cleareyed direction is what brings the picture together, presciently framing Zuckerberg as the media mogul of the future — and hinting at the trouble that entails. ( Another Sorkin-scripted Silicon Valley bio-drama, “Steve Jobs, ” is also available on Netflix. )

This winking update to “The Scarlet Letter” has much to recommend it, including the witty and quotable screenplay, the sly indictments of bullying and rumor-mongering and the deep bench of supporting players. But “Easy A” is mostly memorable as the breakthrough of Emma Stone, an “irresistible presence” whose turn as a high-school cause célèbre quickly transformed her from a memorable supporting player to a soaring leading lady — and with good reason. She’s wise and wisecracking, quick with a quip but never less than convincing as a tortured teen.

Stanley Kubrick’s most controversial film, and perhaps his most disturbing ( neither a small claim ), was this 1971 adaptation of the cult novel by Anthony Burgess. Tracking the various misdeeds and attempted rehabilitation of a certified sociopath ( Malcolm McDowell, at his most charismatically chilling ), this is Kubrick at his most stylized, with the narrative’s hyperviolence cushioned by the striking cinematography, futuristic production style and jet-black humor. Our critic wrote that it “dazzles the senses and mind. ”

The director Yorgos Lanthimos casts a dryly absurd and decidedly dark eye on interpersonal relationships in this “startlingly funny” and undeniably acidic satire of courtship and the societal pressures tied to it. This isn’t some gentle spoof, snickering at gender roles or dating conventions : It’s bleak enough to imagine a couple-centered world where revolutionary movements fight unbendable mating regulations. Colin Farrell finds the right tempo for the material as a frustrated romantic in a state of perpetual disbelief, while Rachel Weisz’s hard-nosed narrator and love interest provides bursts of unexpected warmth and plenty of pitch-black laughs. ( Fore more misanthropic comedy, bite up “The Death of Stalin” on Netflix. )

This freewheeling biopic from the director Craig Brewer ( “Hustle

“I’ve always wanted to be in the movies, ” Dick Johnson tells his daughter Kirsten, and he’s in luck — she makes them, documentaries mostly, dealing with the biggest questions of life and death. So they turn his struggle with Alzheimer’s and looming mortality into a movie, a “resonant and, in instants, profound” one ( per Manohla Dargis ), combining staged fake deaths and heavenly reunions with difficult familial interactions. He’s an affable fellow, warm and constantly chuckling, and a good sport, cheerfully playing along with these intricate, macabre ( and darkly funny ) scenarios. But it’s really a film about a father and daughter, and their lifelong closeness gives the picture an intimacy and openness uncommon even in the best documentaries. It’s joyful, and melancholy and moving, all at once.

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