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Kill Bill: The Right’s Commitment to Murdering Health Care Reform

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Kill Bill: The Right’s Commitment to Murdering Health Care Reform

I had intended to write a series of blog entries on health care reform this summer focusing not only on already well-documented problems within the system and challenging illogical, boogeyman arguments against a public option, but also on issues that haven’t received enough—or any—mainstream media attention, like the underinsured and the role doctors play in the rising costs of health care. Though perhaps inevitable, but no less unfortunate, the spate of attacks on reform that erupted during Congress’s August recess required those in favor of it to go on the defensive instead, spending time combating misinformation and distortions about public opinion when they should have been touting the progress Congress has made in making reform a real possibility for the first time in decades.

I found myself unwilling, if not unable, to comment on the distractions, partly because it was so downright depressing to me—a reminder of the brief period just after Sarah Palin was announced as the vice presidential candidate for the Republican ticket last fall and before she revealed herself to be a perpetual political punchline. At a Labor Day barbeque, a friend and staunch Barack Obama supporter glibly called me “un-American and un-democratic” for suggesting that hecklers shouting down a congressperson until his or her public forum grinded to a halt is not democracy but the ugly face of corporate-sponsored astroturfing. It’s a tactic used to stifle progress and send a message. That message, of course, is “Kill the bill!,” a slogan brought to you by the same masterminds who crafted last year’s “Drill, baby, drill!” and which was chanted ad nauseam at town halls across the nation during the final week of summer.

The Republican talking point has been to insist that those who showed up at town halls across the country last month were ordinary citizens who are unhappy with the changes they see taking place since Obama took office in January, who don’t want him interfering in their presumably cozy relationships with their health insurance providers. They just want to express their concerns, Republican officials will tell you. You know, like Heather Blish, former vice-chairman of the Kewaunee County GOP, who showed up at her former boss’s opponent’s town hall claiming to be “just a mom with no political affiliation” to protest health care reform.

Many of these people, however, are undoubtedly real, law-abiding citizens, but the groups mobilizing this so-called “grassroots” scare campaign are anything but grassroots. And it wasn’t just right-wing commentators or the fringe activists who listen to them who disseminated and continue to disseminate misinformation. “Death panel”—a term so repugnant and dripping with mischaracterization used to describe a part of the proposed reform bill that would reimburse Americans who choose to seek medical advice regarding end-of-life care—was hatched in the sickened brain of right-wing think tank fellow and Cantel Medical Corp. board member Betsy McCaughey and was propagated via Facebook by Palin like a 15-year-old mean girl spreading rumors about the popular new kid in class.

So it came as no surprise when, during Obama’s address to a joint session of Congress last night, Republicans behaved exactly like the angry mobs of town hall protesters they encouraged, pandered to, and used like political pawns throughout the recess. By the time I post this, Rep. Joe Wilson will likely have already started making the cable-TV rounds, ratcheting up his public profile in the wake of his outburst of “You lie!” when Obama attempted to debunk the rumor that his health care plan would insure illegal immigrants. It was a moment so profoundly revealing, in terms of both Wilson’s willful ignorance and his party’s cynicism, that it left no doubt about what the Republican strategy (to kill the bill) and the purpose of that strategy (to score political points against the president) has been. Wilson wasn’t the only elected official heckling the president—just the loudest and most red-faced. Whether it’s Sen. Jim DeMint expressing his desire to “break” Obama by stopping health care reform, or Sen. Chuck Grassley engaging in negotiations with Democrats under the guise of a bipartisan solution and then perpetuating myths about “killing Grandma” at town hall meetings and vowing not to vote for the very bill he’s been tasked with helping to form, the Republican Party’s objective has been to stifle any forward momentum.

I often hear the argument by those on the right that calling out this kind of behavior is frivolous because there is bad behavior on both sides of the aisle. And while that might be true, there is simply no parity on the left today. The left hated George W. Bush because he was perceived to be a corrupt warmonger; the right is painting toothbrush ’staches on portraits of Obama because he wants to reform health care. Symbolically dissing the commander in chief by denying him an applause line or twittering away while he speaks in the chamber is nothing new, but there was a palpable outward contempt for Obama last night that’s unprecedented in modern political history. And one that, exemplified by right-wing parents yanking their children from school so as to shield them from the president’s address to K-though-sixth-graders on Tuesday, reeks of something far more dangerous than old-fashioned partisanship.

The party’s opposition to the president (reform in any shape) notwithstanding, Republicans were going to reject any idea that was presented to them simply because it’s the nature of our two-party system. One should always ask for more than what they want or are willing to settle for when sitting down at the negotiating table, and the biggest problem with Obama’s plan has always been that he conceded too much too soon, pitching the compromise (a public option) instead of a single-payer or Medicare-for-all system that would truly represent the kind of universal coverage that has become a pillar of the Democratic platform. A proposal to further dilute the immediate impact of reform by putting a “trigger” on the public option, meaning that that particular part of the bill would only go into effect if and when the insurance industry failed to meet certain coverage criteria laid out by Congress, was even rejected by Republican Governor and likely 2012 presidential candidate Tim Pawlenty because, he told CNN’s John King, it “simply kicks the can down the road,” which, like the conflicting GOP talking points that a public option would both provide inferior coverage and simultaneously be too good for private companies to compete against, is essentially an admission that he knows insurance companies—and Republicans—will never step up to the plate.

Obama ended his speech by evoking Ted Kennedy, reading part of a letter the late senator had written following his cancer diagnosis last year and which he asked to be delivered to the president upon his death. Kennedy’s words—“What we face is above all a moral issue; at stake are not just the details of policy, but fundamental principles of social justice and the character of our country”—are the best and clearest articulation of both broad liberal ideology and the necessity of universal health care I’ve heard to date. Obama’s assessment of those words took Kennedy’s legacy of proud 20th-century liberalism into a new era: “[Our predecessors] understood that there are instances when the gains in security from government action are not worth the added constraints on our freedom. But they also understood that the danger of too much government is matched by the perils of too little; that without the leavening hand of wise policy, markets can crash, monopolies can stifle competition, and the vulnerable can be exploited. And they knew that when any government measure, no matter how carefully crafted or beneficial, is subject to scorn; when any efforts to help people in need are attacked as un-American; when facts and reason are thrown overboard and only timidity passes for wisdom, and we can no longer even engage in a civil conversation with each other over the things that truly matter—that at that point we don’t merely lose our capacity to solve big challenges. We lose something essential about ourselves.”

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Eminem Drops Surprise Album and Anti-Gun Violence Video for “Darkness”

Music to Be Murdered By was released unexpectedly, accompanied by a music video for the track “Darkness.”

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Eminem
Photo: YouTube

Less than 17 months after his last album, Kamikaze, swooped in out of nowhere, Detroit rapper Eminem, né Marshall Mathers, has dropped another surprise album. Music to Be Murdered By was released unexpectedly tonight, accompanied by a music video for the track “Darkness.”

Directed by James Larese, the clip was seemingly inspired by the 2017 Las Vegas gun massacre, as Eminem narrates the disturbing inner thoughts of an isolated, mentally ill mass shooter. The video ends with the message, “When will this end? When enough people care” and a call to register to vote.

The 20-track album features collaborations with Ed Sheeran, Juice WRLD, Q-Tip, Anderson .Paak, and more. It also includes a song called “Stepdad,” about the rapper’s abusive stepfather.

Music to Be Murdered By is out now on Shady/Aftermath/Interscope Records.

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2020 Oscar Nominations: Joker, 1917, The Irishman, and OUATIH Lead Field

Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho.

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Joker
Photo: Warner Bros.

Nominations for the 92nd Academy Awards were announced Tuesday morning by Issa Rae and John Cho. Todd Phillips’s Joker led the nomination count with 11, followed by Martin Scorsese’s The Irishman, Sam Mendes’s 1917, and Quentin Tarantino’s Once Upon a Time…in Hollywood with 10 each, and Bong Joon-ho’s Parasite, Noah Baumbach’s Marriage Story, Taika Waititi’s Jojo Rabbit, and Greta Gerwig’s Little Women with six each.

While Joker mostly received attention throughout the awards season for Joaquin Phoenix’s lead performance, many pegged Hildur Guðnadóttir’s victory at the Golden Globes for her score as a sign that the film would do well at the Oscars. Elsewhere, Jennifer Lopez (Hustlers) had to make way for Kathy Bates (Richard Jewell) in best supporting actress and Lupita N’yongo (Us) for Saoirse Ronan (Little Women) in best actress. And both Antonio Banderas (Pain and Glory) and Jonathan Pryce (The Two Popes) landed nominations for best actor, pushing Golden Globe-winner Taron Egerton (Rocketman), Robert De Niro (The Irishman), and Christian Bale (Ford v. Ferrari out of the way.

See below for a full list of the nominations.

Best Picture
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Little Women
Marriage Story
1917
Once Upon a Time…in Hollywood
Parasite

Best Director
Martin Scorsese, The Irishman
Todd Phillips, Joker
Sam Mendes, 1917
Quentin Tarantino, Once Upon a Time…in Hollywood
Bong Joon-ho, Parasite

Best Actress
Cynthia Erivo, Harriet
Scarlett Johansson, Marriage Story
Saoirse Ronan, Little Women
Charlize Theron, Bombshell
Renée Zellweger, Judy

Best Actor
Antonio Banderas, Pain and Glory
Leonardo DiCaprio, Once Upon a Time…in Hollywood
Adam Driver, Marriage Story
Joaquin Phoenix, Joker
Jonathan Pryce, The Two Popes

Best Actress in a Supporting Role
Kathy Bates, Richard Jewell
Laura Dern, Marriage Story
Scarlett Johansson, Jojo Rabbit
Florence Pugh, Little Women
Margot Robbie, Bombshell

Best Actor in a Supporting Role
Tom Hanks, A Beautiful Day in the Neighborhood
Anthony Hopkins, The Two Popes
Al Pacino, The Irishman
Joe Pesci, The Irishman
Brad Pitt, Once Upon a Time…in Hollywood

Best Costume Design
The Irishman
Jojo Rabbit
Joker
Little Women
Once Upon a Time…in Hollywood

Best Sound Editing
Ford v Ferrari
Joker
1917
Once Upon a Time…in Hollywood
Star Wars: The Rise of Skywalker

Best Sound Mixing
Ad Astra
Ford v Ferrari
Joker
1917
Once Upon a Time…in Hollywood

Best Animated Short
Dcera (Daughter)
Hair Love
Kitbull
Memorable
Sister

Best Live-Action Short
Brotherhood
Nefta Footfall Club
The Neighbor’s Window
Saria
A Sister

Best Film Editing
Ford v Ferrari
The Irishman
Jojo Rabbit
Joker
Parasite

Best Original Score
Joker
Little Women
Marriage Story
1917
Star Wars: The Rise of Skywalker

Best Documentary Feature
American Factory
The Cave
The Edge of Democracy
For Sama
Honeyland

Best Documentary Short Subject
In the Absence
Learning to Skateboard in a Warzone (If You’re a Girl)
Life Overtakes Me
St. Louis Superman
Walk, Run, Chacha

Best International Feature Film
Corpus Christi (Poland)
Honeyland (North Macedonia)
Les Misérables (France)
Pain and Glory (Spain)
Parasite (South Korea)

Best Production Design
The Irishman
Jojo Rabbit
1917
Once Upon a Time…in Hollywood
Parasite

Best Visual Effects
Avengers: Endgame
The Irishman
The Lion King
1917
Star Wars: The Rise of Skywalker

Best Cinematography
The Irishman
Joker
The Lighthouse
1917
Once Upon a Time…in Hollywood

Best Makeup and Hairstyling
Bombshell
Joker
Judy
Maleficent: Mistress of Evil
1917

Best Animated Feature
How to Train Your Dragon: The Hidden World
I Lost My Body
Klaus
Missing Link
Toy Story 4

Best Adapted Screenplay
The Irishman
Jojo Rabbit
Joker
Little Women
The Two Popes

Best Original Screenplay
Knives Out
Marriage Story
1917
Once Upon a Time…in Hollywood
Parasite

Best Original Song
“I Can’t Let You Throw Yourself Away,” Toy Story 4
“(I’m Gonna) Love Me Again,” Rocketman
“I’m Standing with You,” Breakthrough
“Into the Unknown,” Frozen 2
“Stand Up,” Harriet

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Film

John Krasinski’s A Quiet Place Part II, Starring Emily Blunt, Gets Trailer

The film stands to further boost the profile of the Hudson Valley as a destination for filmmakers.

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The Quiet Place Part II
Photo: Paramount Pictures

Today, Paramount debuted in theaters and online the trailer for the sequel to John Krasinski’s runaway success A Quiet Place, which topped our list of the best horror films of 2018. Not so imaginatively titled A Quiet Place Part II, the film was shot in part in Erie County but, like its predecessor, mostly in the Hudson Valley region where Krasinski and Emily Blunt live with their children. The film, then, stands to not only goose audiences this March, but to also boost the profile of the region as a destination for filmmakers.

According to Paramount’s official description of A Quiet Place Part II: “Following the deadly events at home, the Abbott family (Blunt, Millicent Simmonds, Noah Jupe) must now face the terrors of the outside world as they continue their fight for survival in silence. Forced to venture into the unknown, they quickly realize that the creatures that hunt by sound are not the only threats that lurk beyond the sand path.”

A Quiet Place Part II is written and directed by Krasinski and also stars Cillian Murphy and Djimon Hounsou. See the tense trailer below:

Paramount will release A Quiet Place Part II on March 20.

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Music

Kesha Gets Her Swagger Back in Raucous “Raising Hell” Single and Video

The song reprises the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits.

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Kesha
Photo: Dana Trippe

Clocking in at under three minutes and featuring lyrics like “I’m still here, still bringin’ it to ya,” Kesha’s new song, “Raising Hell,” feels more like an album intro than a proper lead single. But it’s a fitting re-introduction, reprising the driving dance beats and irreverent, IDGAF swagger of the singer’s early hits: “I’m all fucked up in my Sunday best/No walk of shame ‘cause I love this dress/Hungover, heart of gold, holy mess/Doin’ my best, bitch, I’m blessed.”

Though it’s not quite a return to form, “Raising Hell” is a gospel-tinged rave-up featuring Big Freedia that provides a bridge between Kesha’s breakout sound and 2017’s more introspective, roots-inspired Rainbow. Her forthcoming album, High Road, reportedly boasts a wide breadth of styles, from dance-rap bangers to dream-pop ballads, and guests Brian Wilson, Sturgill Simpson, and, yes, even a meta-appearance from “Ke$ha” on the track “Kinky.”

In the video for “Raising Hell,” Kesha plays a very-Aqua Netted televangelist who murders her abusive husband and goes on the lam. The clip, directed by Luke Gilford, sets up a narrative thread that, based on the album’s trailer, will ostensibly run through the entire project.

Watch below:

High Road is set to be released on January 10 on Kemosabe/RCA Records.

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Watch the First Trailer for Martin Scorsese’s The Irishman

Today, Netflix has given us our first look at the film, which stars Robert De Niro, Al Pacino, and Joe Pesci.

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The Irishman
Photo: Netflix

On Monday, it was announced that The Irishman, Martin Scorsese’s adaptation of Charles Brandt’s nonfiction book I Heard You Paint Houses, will open this year’s New York Film Festival. And today, Netflix, which will release the film in select theaters and on its streaming service at some point later in the year, has given us our first look at the production, which stars Robert De Niro, Al Pacino, and Joe Pesci.

According to Netflix’s official description, The Irishman is “an epic saga of organized crime in post-war America told through the eyes of World War II veteran Frank Sheeran, a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. Spanning decades, the film chronicles one of the greatest unsolved mysteries in American history, the disappearance of legendary union boss Jimmy Hoffa, and offers a monumental journey through the hidden corridors of organized crime.”

In a statement from Film at Lincoln Center, New York Film Festival director Kent Jones, a frequent collaborator of Scorsese’s, said that The Irishman is “the work of masters, made with a command of the art of cinema that I’ve seen very rarely in my lifetime, and it plays out at a level of subtlety and human intimacy that truly stunned me.”

See the kinetic trailer, which provides us with our first look of the film’s sure-to-be-controversial “de-aging” VFX techniques, below:

The Irishman will premiere at the New York Film Festival on September 27.

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Disney’s Mulan Live-Action Remake, Starring Yifei Liu, Gets Teaser Trailer

The film follows a young Chinese woman who disguises herself as a warrior in order to spare her ailing father from war.

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Mulan
Photo: Walt Disney Studios Motion Pictures

Today, during the Women’s World Cup final between America and the Netherlands, Disney premiered the first trailer for its live-action remake of the 1998 animated move of the same name. The film follows a young Chinese woman (Yifei Liu) who, after the Emperor of China (Jet Li) issues a decree that one man per family must serve in the Imperial army, disguises herself as a warrior in order to spare the life of her ailing father (Tzi Ma). According to Disney’s official description of the film: “Masquerading as a man, Hua Jun, she is tested every step of the way and must harness her inner strength and embrace her true potential. It is an epic journey that will transform her into an honored warrior and earn her the respect of a grateful nation…and a proud father.”

Mulan features a celebrated international cast that also includes Donnie Yen as Commander Tung, Jason Scott Lee as Böri Khan, Yoson An as Cheng Honghui, and Gong Li as Xianniang. The film is directed by Niki Caro from a screenplay by Rick Jaffa, Amanda Silver, Elizabeth Martin, and Lauren Hynek based on the narrative poem “The Ballad of Mulan.”

See the action-packed teaser trailer below:

Disney will release Mulan in March 2020.

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Music

Taylor Swift Drops Star-Studded, Pride-Themed “You Need to Calm Down” Video

The video takes the notion of visibility as a means of acceptance to the extreme.

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Taylor Swift
Photo: YouTube

After years of political agnosticism, Taylor Swift endorsed two Tennessee Democrats during the 2018 midterm elections, prompting a backlash from white supremacists and their dear leader, Donald Trump. In the span of less than a year, the singer went from being the Aryan goddess of the alt-right to being called out as an agent of sodomy in a sermon by a homophobic pastor and sheriff’s deputy in her home state.

Swift’s path to wokeness has been a long one, and while the launch of her new single, “You Need to Calm Down,” during LGBT Pride Month might feel like the equivalent of Google slapping a rainbow flag on their logo, her activism—which included a recent $113,000 donation to a Tennessee LGBT organization—seems like more than just a branding opportunity. “To be an ally is to understand the difference between advocating and baiting,” Swift posted on Tumblr after rumors circulated that she kisses former rival Katy Perry in the video for “You Need to Calm Down,” the second single from Swift’s seventh album, Lover.

The clip does, however, take the notion of visibility as a means of acceptance to the extreme, featuring cameos from RuPaul, Ellen DeGeneres, Adam Lambert, Adam Rippon, Laverne Cox, Billy Porter, Jesse Tyler Ferguson (whom she serenaded at a surprise performance at New York’s Stonewall Inn last week), and other queer celebrities, YouTube stars, and allies.

Directed by Swift and Drew Kirsch, the video opens with the pop singer waking up in a pastel-colored trailer home adorned with kitschy paintings and a framed Cher quote (“Mom, I am a rich man”). She makes herself a cotton-candy smoothie, takes a dip the cleanest above-ground pool you’ll ever see, and parades through the trailer park’s pride-themed festivities, which includes a “pop queen pageant” featuring drag versions of Swift, Ariana Grande, Lady Gaga, Adele, Cardi B, Beyoncé, Nicki Minaj, and Katy Perry.

The real Katy pops up for a heartfelt reunion with Swift that makes “You Need to Calm Down”—which seems to strive for, but falls short of, the campy eye candy that Perry has honed in her own videos over the years—feel like a bachelorette party at a gay bar. But just in case you question Swift’s allegiance to the cause, the video ends with a message urging viewers to sign her petition for Senate support of the Equality Act.

Watch below:

Swift’s album, Lover, is due August 23 via Republic Records.

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Music

Mykki Blanco Is a Trans Joan of Arc in Madonna’s “Dark Ballet” Video – Watch

The self-described transfeminine rapper stars in the video from the queen of pop’s upcoming album Madame X.

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Mykki Blanco
Photo: YouTube

While presenting Madonna with GLAAD’s Advocate for Change award last month, Mykki Blanco hinted that a collaboration with the queen of pop might be imminent. Sure enough, the self-described transfeminine rapper stars in the video for “Dark Ballet,” the final track to be released in the lead-up to Madonna’s new album, Madame X.

Directed by Dutch Ghanaian visual artist Emmanuel Adjei, “Dark Ballet” echoes the themes of Madonna’s infamous “Like a Prayer” video, awash with Catholic iconography and a storyline revolving around a persecuted black person. But that’s where the similarities end. The singer only briefly appears in the clip, behind a black veil, and the burning crosses of her 1989 video are traded for a ceremonial burning at the stake.

The video is frenetic and non-linear, opening with Blanco held captive in a stonewalled room, wrapped in a dirty white robe. Wrists bound with rope, he’s led by clergymen to be executed for an undisclosed crime. He’s then seen dancing, first in a cathedral—pleading with the men, who forsake him—and then in the church’s sanctuary, dressed in a gold corset reminiscent of the iconic one designed by Jean Paul Gaultier for Madonna’s Blond Ambition Tour. Madonna is, in effect, all over the video, but her casting of a queer person of color as the oppressed, rather than herself, spotlights the disproportionate impact of the patriarchy on minorities.

Produced by Madonna and longtime collaborator Mirwais, the song itself is an ambitious electro suite featuring a heavily Auto-Tuned denouncement of gender, lies, and fame, before the track breaks into Tchaikovsky’s “Dance of the Reed Pipes” from The Nutcracker accompanied by a robot Joan of Arc proclaiming her faith. (There’s a brief, blink-and-you’ll-miss-it shot from Carl Theodor Dreyer’s 1928 film The Passion of Joan of Arc near the beginning of the video.) The song is a reminder of the wacky magic Madonna and Mirwais are capable of cooking up together.

Watch below:

Madame X will be released on June 14 via Interscope Records.

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Film

James Gray’s Ad Astra, Starring Brad Pitt, Gets Official Trailer

It has been a wild ride to the screen for the film, which Gray announced way back in 2016 at the Cannes Film Festival.

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Ad Astra
Photo: 20th Century Fox

It has been a wild ride to the screen for Ad Astra, which director James Gray announced way back in 2016 at the Cannes Film Festival. Originally it was set to come out in the doldrums of January, then on May 24, but as a trailer had yet to be announced in the leadup to that date, it was inevitable that the release would get bumped again. And it was probably for the best, as a film with the obvious ambition as this one wouldn’t get the attention it deserved from its studio—or is it studios?—had it opened in the midst of the confusing Disney-Fox Hollywood merger continuing to play out at that time.

Anyway, today we’ve been gifted with the official trailer for Ad Astra, and the official announcement that it will be coming out on September 20, which suggests that a world premiere at a fall festival is in order. The film tells the story of an astronaut, Roy McBride (Brad Pitt), who “travels to the outer edges of the solar system to find his missing father and unravel a mystery that threatens the survival of our planet.”

Shot by Oscar-nominated cinematographer Hoyte Van Hoytema (Dunkirk) and scored by post-minimalist composer Max Richter, Ad Astra has been likened by Gray to Joseph Conrad’s Heart of Darkness, and described as “the most realistic depiction of space travel that’s been put in a movie and to basically say, ‘Space is awfully hostile to us.’” In addition to Pitt, who’s also a producer on the film, Ad Astra stars Tommy Lee Jones, Ruth Negga, Liv Tyler, Donald Sutherland, Jamie Kennedy, John Finn, Kimberly Elise, Bobby Nish, and LisaGay Hamilton.

Watch the official trailer below:

20th Century Fox will release Ad Astra on September 20.

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Terminator: Dark Fate Trailer: Going Back to the Well with Sarah Connor

Linda Hamilton at least makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

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Terminator: Dark Fate
Photo: Paramount Pictures

Today, Paramount dropped the trailer for the sixth entry in the Terminator series, Terminator: Dark Fate, which promises to deliver…more of the same? With this film, Deadpool director Tim Miller aims to give the series a reboot: by pretending that none of the films that came after Terminator 2: Judgement Day ever existed (sorry, Rise of the Machines fans), maybe even Terminator: The Sarah Connor Chronicles. “Welcome to the day after judgment day,” reads the poster, promising the badass return of Linda Hamilton’s Sarah Connor. And on that front, the film looks to deliver, as Hamilton certainly makes a killer impression as Sarah visits fiery justice upon Gabriel Luna’s terminator.

But based on everything else that’s on display throughout the trailer, we’re worried that there’s not anything new that a film in this series stands to bring to the table besides running and gunning, with the occasional wink thrown in for good measure. Cast in point: Mackenzie Davis stars as Grace, an “enhanced human” who looks to fill the hanger-on role to Connor that Edward Furlong’s John Connor did to Arnold Schwarzenegger’s T-800, now apparently living in woodsy retirement, and at the ready to give sage advice. In short, we’re not impressed, and that also holds true of that cover of Björk’s “Hunter” by some zombie man singer.

Watch the official trailer below:

Paramount Pictures will release Terminator Dark Fate on November 1.

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