Director Tom Hurwitz and Rosalynde LeBlanc’s documentary Can You Bring It: Bill T.
Jones’ D-Man in the Waters, a famed 1989 piece that was inspired by both his partner Arnie Zane and company star Demian “D-Man” Acquavella’s fatal struggles with AIDS. Timeless art is often born out of highly particular experiences, as was the case with dancer and choreographer Bill T. Crafted with jarring edits and split screens for maximum disorientation, the ensuing mayhem is stunning, scary and considerably gross, and heralds the arrival of a uniquely out-there horror voice. That’s just the beginning of the ordeal writer/director Devereux Milburn has in store for his protagonists, who are joined at their dinner by a dazed-looking man with a bandaged head, and who soon discover that Karen has devious plans for them – some of it having to do with her daughter. Though Riley and Sam are vegans, they’re compelled to chow down on some of Karen’s home-cooked beef and bread, the latter of which is especially dicey given that this region is notorious for having lost crops and cattle to a poisonous spore. On a New England camping trip, the couple have a run-in with an unfriendly landowner who evicts them from their sleeping spot, forcing them to embark on a nocturnal trek through the woods that leads to the home of Karen (Barbara Kingsley).
With the finish line slowly coming into sight, these are our current picks for the best movies of the year.ĭon’t eat anything of unknown origins – a warning that goes unheeded by oft-bickering Riley (Malin Barr) and Sam (Sawyer Spielberg, son of Steven) in Honeydew. Morrison’s latest, like the rest of this month’s highlights, is further evidence that, no matter the business side of things, the medium is in fine form. In particular, The Village Detective: a song cycle re-established Bill Morrison as one of non-fiction cinema’s most unique voices, investigating the past through the prism of a heavily damaged print of a 1969 Soviet comedy that was recovered by Icelandic fishermen.
That continued to be true in September, thanks to new works from two legendary American auteurs–Paul Schrader and Clint Eastwood–as well as great documentaries that tackled their subjects in inventive ways. Nonetheless, no amount of turmoil can change the fact that 2021 has been an excellent year for cinephiles. All of which is to say, there’s significant upheaval in Hollywood, and that should be the case for the foreseeable future, especially with heavily anticipated spectaculars like Dune and West Side Story on the horizon.
Yet even those movies’ receipts have come in at a pace far below their pre-pandemic counterparts, and most of the big-ticket titles that have premiered simultaneously in theaters and on VOD (or HBO Max) haven’t come close to validating that paradigm’s long-term financial viability.
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On the plus side, theaters are open and a few recent standout releases ( Free Guy, Shang-Chi and the Legend of the Ten Rings, Venom: Let There Be Carnage) have netted considerable box-office returns, thereby confirming that a healthy multiplex audience still exists.
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As we say goodbye to the blockbuster-laden days of summer and hello to the fall awards season, the movie industry remains in a strange state.
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