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My streaming gem: why you should watch Images
The latest in our series of writers highlighting underappreciated films sees a recommendation for Robert Altman’s dreamlike 70s horror
W hen he completed Images, in 1971, Robert Altman thought to himself : “Everyone is just going to flip over this film. It’s going to be the greatest discovery since hash!” As he later acknowledged, that did not turn out to be the case – to the extent that few people even remember Images today. Partly that’s because this strange, elegant psychological horror doesn’t feel like a Robert Altman film at all. Think of Altman and you think of his orchestrated ensemble pieces – Nashville, Short Cuts, The Player, Gosford Park – or his earlier, New Hollywood genre reinventions: McCabe And Mrs Miller or The Long Goodbye. Between those last two came Images, set in a remote Irish country house, and closer in spirit to Bergman’s Persona or Polanski’s Repulsion.
Images takes us into the fractured psyche of Cathryn, a children’s author played by Susannah York. We find her alone in her apartment, narrating passages from her new book – a fantasy tale of unicorns and magical lands with funny names (York actually wrote and published this book in real life). Late at night, Cathryn receives a phone call from a woman who sounds mysteriously like herself, informing her that her husband, Hugh, is with another woman. When Hugh (Altman regular René Auberjonois) returns he begins kissing Cathryn, but suddenly, he changes into another man, and Cathryn recoils, horrified. Deciding they need a break, they flee their chic city apartment and drive to their country house that night. But once there, things become ever stranger, as Cathryn struggles to separate illusion and reality.
The other man turns out to be Rene, Cathryn’s former lover, who died three years ago. There is a third man, Marcel, a neighbour who also seems to have been Cathryn’s lover at some point. Marcel has a teenage daughter (Cathryn Harrison, granddaughter of Rex), whom Cathryn takes under her wing, recognising something of herself in her – not a good sign under the circumstances. The identities of these three men seem to switch around, so we’re never quite sure which one is which. She’ll be talking to Rene one moment, but in the next shot, it’s actually Hugh. To complicate matters further, Cathryn also sees another version of herself from time to time.
Deepening her plight is the fact that all three men are, to some extent, assholes. Hugh in particular is a classic 70s man: patronising and insensitive, likes photography and shooting game, tells terrible jokes, wears driving gloves even when he’s not driving. Rene seems intent on rekindling their relationship, despite being dead. And lecherous Marcel, who has recently separated from his wife, is constantly trying to grope her. You can hardly blame Cathryn for wanting to kill one or more of them, and let’s just say there will be blood, but which one is which? Does it matter anyway?
True to Altman’s style, there’s an unshowy, improvisatory naturalism to the performances. Despite being a man, Altman clearly identifies with his female lead, and York is magnificent, the cracks in her poised demeanour steadily widening as sexual guilt, male predation and mental illness take hold (she won best actress at Cannes for this performance). Added to which, her outfits are a 70s fashion style guide. But there’s still a creepy, fairytale horror feel to the whole exercise. Vilmos Zsigmond’s roving, impressionistic photography lends the film a dreamlike quality – all tinkling wind chimes and rain-streaked windows and fractured reflections, not to mention some rich exterior scenes in the autumnal Irish countryside. The score, too, is a strange mix of dissonant orchestral swells and percussive stabs. It was composed by John Williams, of all people, with help from Japanese prog musician Stomu Yamashta.
Despite the Cannes award, the film received a mixed critical reception and had a botched release, which explains its relative obscurity. Altman himself judged the film to be a little heavy-handed in retrospect (he went on to rework similar themes in his better known 1977 movie Three Women), but Images stands up far better than most of its contemporaries. Not quite the greatest discovery since hash, but an intoxicating watch all the same.
Images is available to stream on Amazon Prime in both the UK and US.
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Movie Reviews
Tv/streaming, collections, great movies, chaz's journal, contributors, banel & adama.
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The opening image of this movie, out of focus, seems to be of the sun, or a sun, appearing to undulate within the frame. The directorial debut of French-Senegalese filmmaker Ramata-Toulaye Sy , this is one of those pictures to which the phrase “every frame a painting” might apply. Light itself seems to be a character in the film. But despite the beauty that light often imparts to the frame, whether crystal clear or diffused by swirling sand, it’s not an entirely benevolent character.
The movie takes place in a rural Senegal village where the light is unremitting and merciless. Everyone in the movie is waiting for rain that doesn’t come, and the light punishes the livestock. Drought comes, and in its wake, famine. It’s hard just to live.
And, of course, it’s hard for love to thrive in such an environment, not just because of the physical demands but because of customs and traditions. Banel ( Khady Mane ) is a young woman fiercely in love with Adama ( Mamadou Diallo ), a fellow whose personality is rather more tentative than you’d expect from a guy in line to be a tribal leader.
Banel is a woman of substantial determination. In shots that skirt the edges of rationality, we see and hear her taming the “angry and agitated” voices that dog her in daily life. Her village doesn’t please her; she and Adama dream of a new home, not far away in an urban area, as is common in many movie narratives in rural settings, but in houses that they are digging up from a nearby village that had been wiped out in a sandstorm. On a sheet of paper, she writes her and Adama’s names over and over. During religious instructions, she discusses learning the Quran by heart. She becomes an ace with a slingshot, killing a bird with it. Despite Adama’s potential role as a tribal leader, one character insists, “Here, no man stands out from the others.”
With a steady editing rhythm, Sy chronicles this complicated love and the sufferings of the village at large. It’s not a movie with any sharp dramatic turns. As the famine intensifies, there are harrowing images of dead cattle practically bleached by the sun. Throughout all this, Banel maintains her own arguably selfish focus, near the end practically accusing Adama: “You promised to dig to the very last grain of sand.” This evocative movie’s final images, again demonstrating that nature tells our stories for us at times, demonstrate that even promises kept can be ultimately ineffectual.
Glenn Kenny
Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .
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Banel & Adama (2024)
Khady Mane as Banel
Mamadou Diallo as Adama
Binta Racine Sy as Adama’s Mother
Moussa Sow as Racine
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Images Reviews
'Images' confirms the decade's turn towards pessimism after the sixties, even demystifying the well-being aura associated with the countryside. [Full review in Spanish]
Full Review | Original Score: 4.5/5 | May 29, 2024
Thanks to its pedigree and York’s performance, “Images” is well worth tracking down...But its oddness is both a calling card and a handicap, as it’s not quite horror, not entirely a paranoid thriller and not necessarily “Altmanesque.”
Full Review | Original Score: 2.5/4 | Aug 7, 2022
Images is a masterpiece of mental and sexual disquietude.
Full Review | Original Score: 4/5 | Aug 25, 2020
Committed contributions from York (acting), Zsigmond (photography), Williams (score), and Yamash'ta (sound design) amount to little more than a jangling jumble of hyperbolic head games.
Full Review | Original Score: 2/4 | Mar 28, 2020
Stylistically controlled and tightly structured, Altman restrains his usual improvisatory technique and open-ended shooting style to produce a riveting intellectual puzzler as well as a penetrating character study of a woman who's slowly losing her grip.
Full Review | Original Score: 3/4 | Jan 14, 2019
[Altman] controls things beautifully, proffering credible biographical reasons for her inner disturbances, and borrowing shock effects from the thriller genre to underline the terrifying nature of her predicament.
Full Review | Jan 14, 2019
Images is not remotely an example of hack work -- it's an example of a conceptual failure.
It looks complicated, but it's just confused (1972).
This clanging, pretentious, tricked-up exercise, is almost a model of how not to dramatize the plight of a schizoid.
An experiment that embodied the bold risk of an emerging method of cinema, where a garden of new filmmakers was being driven by themes more than characters or story.
Full Review | Original Score: 3.5/4 | Jun 10, 2018
It is, first of all, an intelligently constructed and spectacularly well-photographed film. We admire its gifts even though they tend not to involve us.
Full Review | Original Score: 3/4 | Apr 29, 2018
Today it can be seen as one of Altman's most fascinating -- and terrifying -- films.
Full Review | Mar 22, 2018
Images is not only a portrait of a woman's mental breakdown (like Altman's earlier That Cold Day in the Park), but also a schizophrenic study of the creative process itself
Full Review | Mar 19, 2018
Robert Altman made this interior drama about a woman going through hallucination and nearing madness in Ireland. Delving into effects of permissiveness on a hidebound, repressed nature, it also shows a probing insight into mental disorder.
Full Review | Apr 14, 2011
It is a rare film that can entice me to surrender my logic, but Images does just that. [It] is a film in which Altman doesn't worry about defenses. He boldly creates a spiritual vision and lets logic and caution fall by the wayside of wondrous beauty.
Full Review | Original Score: 4.0/5 | Mar 31, 2009
A challenging film, heavy on symbolism and motifs.
Full Review | Original Score: B | Jan 2, 2005
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‘images of a nordic drama’: film review | hot docs 2022.
The first documentary by ‘Pathfinder’ director Nils Gaup traces one man’s mission to achieve art-world recognition for a long-forgotten Norwegian painter.
By Sheri Linden
Sheri Linden
Senior Copy Editor/Film Critic
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Stories of outsider artists are usually wrapped in a certain romantic glow: the solitary pursuit, the single-minded vision, the obscurity and indifference to fashion. Sometimes the artist never sought recognition; sometimes they did and were met with a cold shoulder , casting that romantic glow in the shadow of rejection. For Aksel Waldemar Johannessen, who died in 1922 at age 42, apparently having succumbed to alcoholism, life in the shadows was the very subject of his work. He painted the proletariat, the people of the streets, the prostitutes and the dipsomaniacs, and he often made himself a subject, with brutal, unfiltered honesty.
Images of a Nordic Drama , which takes its title from the name of a 1994 exhibit mounted after Johannessen’s rediscovery, is concerned with the drama those powerful images convey, but its main focus is the drama that would surround them more than 70 year after the artist’s death.
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Hot docs: nishta jain's 'farming the revolution' takes top jury prize , hot docs festival: middle eastern films get spotlight amid israel-hamas war, images of a nordic drama.
Venue: Hot Docs
Director-screenwriter: Nils Gaup
Turning to nonfiction for the first time, director Nils Gaup (whose debut feature, 1987’s Pathfinder , was nominated for an Academy Award) is less interested in Johannessen’s biography — the film offers the bare basics of his adulthood, not always with clarity — than in the canvases themselves. But most of the documentary is concerned with one man’s struggle to place the painter in the modern pantheon. Whatever the power of the paintings — and that power is considerable — the doc is most illuminating as a tale of art establishment politics and the kind of groupthink that’s antithetical to the creative, nonconformist essence of art itself.
“The greatest shock of my life” is how the writer and art collector Haakon Mehren describes his first encounter with Johannessen’s work, a small trove of whose canvases were discovered hidden away in a barn. He would spend more than 30 years as the painter’s diligent promoter, in the process butting heads with the official canon and its gatekeepers — specifically, the art-world establishment in Norway. There are damning revelations about the ways in which that upper crust reacted to his relentless campaign for Johannessen.
Gaup takes a basic talking-heads approach, incorporating new interviews with writers and scholars along with TV news clips and other archival material. At the center of it all, Mehren, now in his 80s, is ardent and affable. (And it turns out that his preservationist bent extends well behind the art gallery.) His first triumph, after buying the paintings for a lump sum and restoring them, was to organize a Johannessen exhibit at Blomqvist, the same Oslo gallery where the painter’s only previous show took place, soon after his death, organized by his wife, Anna, as she was dying of cancer.
That 1923 exhibition drew not just rapturous reviews but the praise of Edvard Munch , the preeminent Norwegian artist to whom Johannessen would endlessly be compared, in ways both laudatory and diminishing. Johannessen’s posthumous fame was fleeting: The paintings fell into a public guardianship, his young, orphaned children oblivious to the acclaim his work had received. Mehren’s detective work to piece together the artist’s story led him to his younger daughter, at the time nearing 80 and an invaluable source of information — and more of her father’s paintings.
The Blomqvist show that Mehren put together in 1992 was a hit just like its predecessor. But while curators in other parts of Europe embraced the chance to exhibit the paintings, the roadblocks went up with a shockingly loud clang in Norway, notably from the National Museum and, in a cruel paradox, the Munch Museum. The paintings simply weren’t good enough, they claimed, the former organization’s director delivering a full- throated denunciation of Johannessen’s art. Reporting for Norwegian TV on the show at the Doge’s Palace in Venice that gives the film its name, a critic seems to take pleasure in being dismissive. “This,” Mehren says of all the naysayers, “was Norway in a nutshell.”
But he found an ally at last in Danish art historian Allis Helleland during her brief stint as head of the National Gallery. She would be gone in less than year, her championing of Johannessen a key factor in her departure. Interviewed for the film, she describes the impact of his paintings: “It’s like when you’re reading Hamsun; your stomach hurts, but you must read on.” After running with the denigrating pack, Munch expert Arne Eggum had a change of heart on Johannessen’s talent, discovering that his canvases contain “images that become your memories.”
Some of the film’s interviewees will probably be familiar to Norwegian audiences, as will historical facets of the story; Gaup doesn’t take time to explain these for other viewers, letting the names of certain figures hang in the air as if they speak for themselves. But what’s universal about Nordic Drama is its eye-opening complaint against the ways that self-preservation and self-aggrandizement can become the engines driving cultural institutions.
Noting the increasing role of private wealth in public art — as a means of increasing that wealth — Gaup ends the film on a note of victory for Mehren and Johannessen, but not one without irony. The documentary he’s made resounds well beyond Norway and the art world in general, especially at a moment when questioning or dissenting voices tend to be castigated and silenced. As Helleland says of the paintings that so affected her, “It’s about treating them seriously.”
Full credits
Venue: Hot Docs Production company: Paranord Film Director-screenwriter: Nils Gaup Producer: Linn Henriksen Cinematographers: Andreas Ausland, Martin Edelsteen Editors: Svein Olav Sandem, Mik Stampe Composer: Kjetil Bjerkestrand Animation and graphics: Tor Øra In Norwegian, German and English
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A wordless cartoon to love.
‘Robot Dreams’
A dog and his robot friend explore 1980s New York in this wordless cartoon written and directed by Pablo Berger and adapted from the graphic novel of the same name.
From our review:
It’s marvelous how the film is able to sketch so much soul from such simple lines. The characters are drawn bluntly, just as they are in the book. Yet Berger, directing his first animated feature (but not his first silent film ), already boasts the creativity of a master. He frames images from inside a grimy microwave, or looking up from the bottom of a candy bowl as it’s being filled with jelly beans. One dizzying shot comes from the point of view of a snowman who’s popped off his own head and hurled it like a bowling ball.
In theaters. Read the full review .
The sulking dead.
‘handling the undead’.
After the dead are spontaneously reanimated, three families wrestle with the personal ramifications.
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Jessica Lange, stealing the show.
‘the great lillian hall’.
The title character (Jessica Lange) is an aging stage actress who struggles personally and professionally in this melodrama directed by Michael Cristofer.
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A queer teen drama without the usual trauma.
When teenager Riley (Devery Jacobs) joins an all-star cheer squad, she must balance her mental health, her relationship with her girlfriend (Kudakwashe Rutendo) and her need to impress her new coach (Evan Rachel Wood).
The nonbinary director, D.W. Waterson, wanted to make the kind of film they wished they had seen growing up in a hockey-obsessed household in Canada. Which may explain why an earnest teen spirit seems to be alive and somersaulting in “Backspot,” a cheer squad tale offering plenty of life lessons. … The double full twist with “Backspot” is that the writer, Joanne Sarazen, and Waterson (who edited and scored the film), don’t center the coming-of-age drama in coming-out trauma.
A bride with cold feet. Cue the chaos.
‘the young wife’.
This comedy-drama directed by Tayarisha Poe follows Celestina (Kiersey Clemons) on her chaotic wedding day.
The film’s cacophony of voices, and a spotlight that roves across the party guests, creates a storm of light, color and sound in the midst of which Celestina ponders existential questions. … These are familiar, even hackneyed themes, which make the film’s relentless theatrics feel gratuitous and somewhat exhausting. Style overpowers substance, though Poe’s fantastic eye for composition and Clemons’s vivacious screen presence are undeniable.
In theaters and available to rent or buy on most major platforms . Read the full review .
Compiled by Kellina Moore .
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The director Pablo Berger broke down how he brought a New York street scene to life in “Robot Dreams,” his Oscar-nominated animated film about the friendship between a dog and a robot.
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The documentary “Jim Henson Idea Man,” directed by Ron Howard, doesn’t ignore the Muppet mastermind’s faults, but the tribute has a lot to teach creators everywhere .
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Horizon: An American Saga - Chapter 1
Chronicles a multi-faceted, 15-year span of pre-and post-Civil War expansion and settlement of the American west. Chronicles a multi-faceted, 15-year span of pre-and post-Civil War expansion and settlement of the American west. Chronicles a multi-faceted, 15-year span of pre-and post-Civil War expansion and settlement of the American west.
- Kevin Costner
- Jena Malone
- 6 User reviews
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- 51 Metascore
- Hayes Ellison
- Frances Kittredge
- Diamond Kittredge
- Owen Kittredge
- Sgt. Major Riordan
- First Lt. Trent Gephardt
- Walter Childs
- Caleb Sykes
- Roland Bailey
- Colonel Houghton
- Hugh Proctor
- Matthew Van Weyden
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- May 23, 2024
The 2024 Festival Films You Need to Know
- When will Horizon: An American Saga - Chapter 1 be released? Powered by Alexa
- June 28, 2024 (United States)
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- Horizon: An American Saga
- New Line Cinema
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- $100,000,000 (estimated)
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- Runtime 3 hours 1 minute
- Dolby Digital
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‘Furiosa: A Mad Max Saga’ Review – Anya Taylor-Joy’s Shine Stolen By Costars
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It’s been almost 10 years since Mad Max: Fury Road was released in theaters, and there’s still a polarized reaction to it. Some viewers agree that it is one of the greatest action movies of a generation with so many memorable moments. Others just can’t help but ask why Max is barely a presence in his own movie.
People strongly defended the notion that Mad Max: Fury Road was essentially a bait-and-switch that introduced the female character of Furiosa, who was the true protagonist of the movie. Years were spent gaslighting people into believing that they were crazy for thinking that Fury Road was all about replacing Max with Furiosa.
Well, here we are almost 10 years later and George Miller is back with another film that has nothing to do with Mad Max. Except this time, instead of bringing back Charlize Theron who portrayed the character nearly a decade ago, this new entry in the Mad Max series is an origin story starring a much younger Anya Taylor-Joy in a film where there’s virtually no talking from our title character.
Furiosa: A Mad Max Saga begins with a young furiosa and her sister Valkyrie living in their home, that is subtly called Green Place of Many Mothers. Furiosa’s mother, Mary Jo, loses her life attempting to protect the existence of The Green Place from the warlord Dementus, played by Chris Hemsworth, and his biker hoard.
As the years progress, Dementus and the bikers attempt the uprising against the citadel leader of Immortan Joe and the War Boys. The battle between the two sides leads to a devastating assault on Dementus’ army.
Dementus demands food of the water in exchange for not destroying Gastown, but Joe demands to take Furiosa as one of his wives in order to make the deal. Disguising herself as a boy, to prevent herself being sexually assaulted by Joe’s son, Furiosa spends years in the wasteland.
As she becomes a road warrior to protect the shipment of gasoline, she receives an opportunity to exact vengeance against Dementus for murdering her mother.
One of the biggest knocks on Mad Max: Fury Road was that it was pure action and not much story. Director George Miller tried to defend that film by arguing that dialogue in a movie is overrated. As mentioned earlier, Anya Taylor-Joy has roughly 30 lines of dialogue throughout the entire movie — which clocks in at nearly a two and a half hours of runtime.
But just because her character doesn’t speak, doesn’t mean there is an interaction between other characters. What Furiosa: A Mad Max Saga does is try to correct the mistake of having too much action, by focusing a little bit more on the story behind the rise of Furiosa as a character.
The audience discovers how she ends up with Immortan Joe to begin with, the land that she came from, and the origin story behind her shaved head and missing arm.
While there’s certainly a tone down approach to the action, there is far more character and story development — making this effort, a polar opposite of Fury Road . That creative decision could turn off those who are looking for a high-octane action movie that matched the first one.
Taylor-Joy’s presence in the film is not the selling point in the movie, despite her being the title character. She doesn’t even appear until nearly an hour into the run time for this movie. Performance-wise, she is outshined by her younger counterpart paid by Alyla Browne.
The man who does the heavy lifting for most of this film is Chris Hemsworth in the role of Demuentus. The character is very withdrawn in his introduction. As the story progresses, he becomes slightly more over the top, as the reality of a post apocalyptic world begins to set, all the laws are thrown out of the window for the sake of survival and resources.
The cinematography of this film matches the original by creating a barren wasteland that is visually stunning on screen, especially if you’re watching on IMAX, it does more to add to the world-building; even more so than the original movie.
Although this film gets a lot right, you have to ask the question, will this satisfy casual moviegoers who were not enthralled with Mad Max: Fury Road nearly a decade ago?
Much of the film is fan service to the 2015 movie. However, if you’re a fan of the original Mad Max you’re once again going to receive a film that feels completely despondent from the ‘eighties’80s franchise that led us to this point in the first place.
The movie certainly has elements to a story that is made for “modern audiences.” At its core, the film is about a group of women struggling to overcome a male dominated society. And that message mirrors what we saw in Fury Road .
Furiosa: A Mad Max Saga is certainly a positive addition to the franchise for those who want to learn more about the Mad Max world without Mad Max. As condescending as that sounds, it doesn’t take away from the fact that the film is a solid action adventure that does his job by pleasing its audience.
NEXT: ‘Babes’ Review – The Worst Movie You’ll Watch This Year… Hopefully
Furiosa: A Mad Max Saga (2024), Warner Bros. Pictures
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- Anya Taylor-Joy.
- Toothless prequel.
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Friends: The Complete Series (4K UltraHD) [4K UHD]
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The beloved comedy franchise that centered around a group of friends in Manhattan and aired on NBC for 10 seasons from September 22, 1994, to May 6, 2004, is completely remastered and available for the first time ever in 4KUHD!
Includes all 236 original broadcast episodes (100+ hours) and hours of bonus content including an all-new never before seen bonus featurette.
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- Run time : 86 hours and 32 minutes
- Release date : September 24, 2024
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Walking Dead: Daryl Dixon Season 2 Gets Premiere Date and New Images
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AMC Networks has revealed when the next season of The Walking Dead: Daryl Dixon will premiere. Also unveiled are new images providing a sneak peek at the two main stars, Norman Reedus and Melissa McBride.
In the first season, McBride was only featured in a limited capacity in her role as Carol, though Reedus' Daryl was the central character. The two are co-starring in Season 2, which has resulted in the show getting a title change, now officially dubbed The Walking Dead: Daryl Dixon - The Book of Carol . The new Season 2 images, which can be seen below, reveal Daryl Dixon on the attack while Carol can be seen with her motorcycle. Season 2 will premiere on Sunday, Sept. 29 at 9pm ET/PT on AMC and AMC+ .
10 Best Episodes of The Walking Dead Season 8, Ranked
Season 8 of The Walking Dead is one of its most controversial entries. The top episodes, however, gave the series enough momentum for a ninth season.
According to an official description for the new season, Season 2 "picks up where The Walking Dead: Daryl Dixon left off, following fan-favorite characters Daryl Dixon (Reedus) and Carol Peletier (McBride) . They both confront old demons while she fights to find her friend and he struggles with his decision to stay in France, causing tension at the Nest. Additionally, Genet (Anne Charrier)’s movement builds momentum, setting Pouvoir on a violent collision course with the Union of Hope in the fight for France's future."
The series also stars Clémence Poésy, Louis Puech Scigliuzzi, Laika Blanc Francard, Romain Levi, and Eriq Ebouaney. The Walking Dead spinoff is executive produced by series showrunner David Zabel alongside Reedus, McBride, Scott M. Gimple, Greg Nicotero, Angela Kang, Brian Bockrath, Daniel Percival, Jason Richman, and Steve Squillante.
The Walking Dead Universe's 10 Best Seasons (So Far)
The Walking Dead Universe consists of a multitude of shows with various seasons, but some of those seasons managed to hook fans in immediately.
Like Season 1, the second season will consist of six episodes. The first season premiered in September 2023, and that followed its early renewal for a second season. Similarly, the series has also been given an early renewal for Season 3, so there will be more to come by the end of The Book of Carol . Of course, it's important to remember that nobody is ever truly safe in the world of The Walking Dead , so Daryl and Carol are not guaranteed to return for Season 3, as another slight title change could easily shift the focus onto other characters.
The Walking Dead Franchise Continues
This news follows the limited series spinoff, The Walking Dead: The Ones Who Live , wrapping up earlier this year. There hasn't been any indication just yet that the show will get another season. However, The Walking Dead: Dead City , another spinoff starring Jeffrey Dean Morgan and Lauren Cohan, has a second season in the works.
The Walking Dead: Daryl Dixon - The Book of Carol will premiere on Sept. 29, 2024.
Source: AMC Networks
The Walking Dead: Daryl Dixon
Daryl's journey across a broken but resilient France as he hopes to find a way back home.
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Altman shot "Images" (1972) in Ireland during the wet autumn months of 1971, and premiered it the following May at Cannes. It won Susannah York the award for best actress (it's the role she's most proud of), but left its Cannes audiences mostly confused. It isn't the sort of film you feel affectionate about. It's complex and cold, although not nearly as hard to understand as some ...
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As a writer whose drawing skill makes Dr. Seuss look like Frank Miller, I was all set to root for words to win the big debate. Unfortunately, "Words and Pictures" fails at portraying both titular nouns. The screenplay by Gerald Di Pego ("Phenomenon") is full of subpar dialogue, one-dimensional characters, scenes that belong in a different movie ...
Images. R Released Dec 18, 1972 1h 40m Drama Horror Mystery & Thriller List. 75% Tomatometer 16 Reviews 70% Audience Score 1,000+ Ratings A schizophrenic (Susannah York) confuses her husband (Rene ...
Late at night, Cathryn receives a phone call from a woman who sounds mysteriously like herself, informing her that her husband, Hugh, is with another woman. When Hugh (Altman regular René ...
In a Violent Nature. NYT Critic's Pick. Not Rated. Drama, Horror, Thriller. Directed by Chris Nash. Chris Nash's ultraviolent horror movie is an unexpectedly serene, almost dreamlike ...
Images is a 1972 psychological horror film directed and co-written by Robert Altman and starring Susannah York, René Auberjonois and Marcel Bozzuffi.The picture follows an unstable children's author who finds herself engulfed in apparitions and hallucinations while staying at her remote vacation home.. Conceived by Altman in the mid-1960s, Images secured financing in 1971 by Hemdale Film ...
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Images: Directed by Robert Altman. With Rene Auberjonois, Marcel Bozzuffi, Hugh Millais, Cathryn Harrison. Whilst writing a children's book, a woman interrupted by images unsure if they may, or may not be real
It's not a movie with any sharp dramatic turns. As the famine intensifies, there are harrowing images of dead cattle practically bleached by the sun. Throughout all this, Banel maintains her own arguably selfish focus, near the end practically accusing Adama: "You promised to dig to the very last grain of sand.".
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Verified Audience. Jorge Loser Espinof. 'Images' confirms the decade's turn towards pessimism after the sixties, even demystifying the well-being aura associated with the countryside. [Full review ...
'Images of a Nordic Drama,' the first documentary by 'Pathfinder' director Nils Gaup, traces one man's mission to achieve art-world recognition for a long-forgotten Norwegian painter.
Only show results related to: Discussion (Communication) Examining (Looking) Feedback (Communication) Rating (Topics) of 2. Find Movie Review Background stock illustrations from Getty Images. Select from premium Movie Review Background images of the highest quality.
Inspiring movie review app work, designs, illustrations, and graphic elements. bazen. Team. Explore thousands of high-quality movie review app images on Dribbble. Your resource to get inspired, discover and connect with designers worldwide.
The Dumpster Battle.". Crunchyroll. 'Haikyu!! The Dumpster Battle'. This film, directed by Susumu Mitsunaka, is a continuation of the sports anime series "Haikyu!!" and follows a heated ...
Horizon: An American Saga - Chapter 1: Directed by Kevin Costner. With Kevin Costner, Abbey Lee, Jena Malone, Sienna Miller. Chronicles a multi-faceted, 15-year span of pre-and post-Civil War expansion and settlement of the American west.
Furiosa (Anya Taylor-Joy) reveals herself to Warlord Dementus (Chris Hemsworth) in Furiosa: A Mad Max Saga (2024), Warner Bros. Pictures. People strongly defended the notion that Mad Max: Fury Road was essentially a bait-and-switch that introduced the female character of Furiosa, who was the true protagonist of the movie. Years were spent gaslighting people into believing that they were crazy ...
This series continues being one of the greatest series out there! I truly feel that Friends takes what Seinfeld does, a show about a group of friends doing nothing, but perfects each formula.Seinfeld:A main friend group consisting of 4 friendsA main apartment they meet and hang out atSituations revolving around hijinks, relationships, food, confessions, secretsFriends:A main friend group ...
The new Season 2 images, which can be seen below, reveal Daryl Dixon on the attack while Carol can be seen with her motorcycle. Season 2 will premiere on Sunday, Sept. 29 at 9pm ET/PT on AMC and AMC+ . This article covers a developing story.