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“Camp X-Ray” has cinematic and moral intelligence. This debut feature by writer-director Peter Sattler about a female soldier stationed at Guantanamo Bay, Cuba, is a quiet, patient drama that focuses on a handful of characters and plays out in a few key locations: a cell, a hallway, a prison yard, some offices. It articulates its observations and emotions through shots and cuts, and actors’ reactions. It’s also about culture clashes, patriotism, idealism, duty, and what it means to be a woman in a job defined by primordial ideas of manhood. It is not a perfect movie—a couple of developments feel shoehorned in, and the final leg squanders the goodwill built up in the preceding 90 minutes—but it’s ambitious, and it has soul. It’s one of the better mainstream American film portraits of what happened to America's psyche after 9/11: the moral numbness that set in right away, and never entirely lifted.

“Twilight” star Kristen Stewart carries the film on her slender shoulders. She plays the heroine, PFC Amy Cole, a young woman from a Florida town who enlisted in the Army to learn and grow, but now finds herself at Guantanamo—also as Gitmo, or Camp X-Ray—watching over prisoners. Sorry: detainees . It’s important to use that word instead of “prisoners” because, as Amy explains to a fellow soldier, “Prisoners are subject to the Geneva Conventions. Detainees are not.”

Amy’s trainer, CPL Randy Randsell ( Lane Garrison ), tells her right off the bat that it’s not a good idea to see the detainees as autonomous human beings, because that will get in the way of the job. He discourages her partly by playing on her insecurity as one of a handful of women at Camp X-Ray, a camp staffed mostly by burly male soldiers guarding cell blocks full of fundamentalist Muslims who don’t like being overseen by Americans generally, American women in particular.

Amy disregards Randy’s instructions and lets a stridently eloquent, English-speaking inmate named Amir Ali ( Peyman Moaadi of “A Separation”) engage her in conversation as she rolls a book cart up and down the cell block hallway. The relationship between Amy, a strong-silent type, and Ali, a chatterbox provocateur, has a ‘70s-movie feel. The filmmaker lets Stewart act Steve McQueen-style, mostly with her eyes, body and hands. Moaadi jabbers and squirms and wheedles like a Middle Eastern cousin of Dustin Hoffman. Their first talk is faintly Kafka-esque: he’s read the first six Harry Potter books and has been begging for the seventh volume for two years. Amy can’t and won’t help him, offering him a two-week-old newspaper plus whatever else is on the cart. Their conversations about reading material do such a subtle job of exploring the film’s themes (they talk about Willa Cather’s “My Antonia,” a book built around a female pioneer, as well as Harry Potter) that it’s a huge letdown when the films pays these conversations off in a boringly conventional way.

Far better are the journalistic details: the magazines and newspapers on Amy’s book cart, with women’s faces blacked out; the way inmates wrap their Korans in small white blankets, and pass the time by drawing, doing puzzles, yelling at the guards and each other, and occasionally hurling feces in protest; the way that procedure, protocol and tradition rule everything, on both sides of the cell doors.

The first half of “Camp X-Ray” concentrates on showing us what it’s like to be Amy and do Amy’s job. Sattler often photographs her in ways that either disguise her femininity or complicate our reactions to it. The first time we see her, she’s silhouetted against the sun, backlit like a Clint Eastwood gunfighter. As the story unfolds, there are many close-ups taken from behind Stewart’s shoulders as Amy walks through the camp or down a cell block corridor, or sits in a chair in the mess hall or in her apartment, thinking. Our eye naturally gravitates toward her hair, which is pulled into a tight bun. The bun is at the center of the frame during so many important scenes that it eventually seems to stand for both Amy’s tightly wound personality and her workplace predicament. She gets flack for being sexually unavailable to men, but at the same time, she’s under pressure to “man up” and not show her feelings, because that’s what girls do. (Amy only lets her hair down once in the film, before Skyping with her mom.) “Are you a soldier, or are you a female soldier?” Randy asks Amy, when she recoils from an inmate’s humiliation-as-punishment. “’Cuz I don’t have these kind of problems with soldiers.”

Stewart is great in “Camp X-Ray.” Freed of her “Twilight” obligation to enact a horror movie version of fairytale-femme situations, she seems at ease (so to speak) as a tomboy. She mines a narrow emotional range with precision. Her performance is fat-free. There are silent film-quality close-ups where you can read every fluctuation in her mood even though she’s barely moving a muscle. This is a true movie star performance. When it fails to convince, it’s only because Stewart’s acting makes the heroine seem like such a distinct, real person that when Amy talks or acts like a standard conscience-stricken movie character, we can’t accept it.

“Camp X-Ray” spirals into conventional dramatics near the end, rushing through Amy’s epiphany and Ali’s despair, and turning into the hard-edged yet sentimental buddy film you hoped it was too proud to let itself be. But it’s still worth seeing for the caliber of its acting and filmmaking. Sattler and his cinematographer, James Laxton , compose striking shots that advance the story and comment on the script’s themes without becoming ostentatiously pretty. The movie makes great use of the camp’s coldly anonymous architecture, framing guards and prisoners within rectangles and squares and converging diagonal lines, and sometimes dwarfing them in long shots that have the geometric solidity of a Piet Mondrian painting. The editing, by Geraud Brisson , juxtaposes shots in cheeky ways, as when the movie crosscuts between a Muslim call to prayer and soldiers lining up for morning inspection: the sequence is capped by a shot of the the US flag flapping in the breeze, as if to suggest that blind faith in a nation's goodness is its own kind of state religion.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Trigger Warning

Film credits.

Camp X-Ray (2014)

Rated R language and brief nude images

117 minutes

Kristen Stewart as Amy Cole

Peyman Moaadi as Ali (as Payman Maadi)

Lane Garrison as Randy

Joseph Julian Soria as Rico

John Carroll Lynch as Col. Drummond

• Peter Sattler

Director of Photography

• James Laxton

Original Music Composer

• Jess Stroup

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‘camp x-ray’: film review | sundance 2014.

Kristen Stewart stars opposite Peyman Moaadi from Iranian Oscar winner 'A Separation' in Peter Sattler's Sundance entry set in the Guantanamo Bay detention camp.

By David Rooney

David Rooney

Chief Film Critic

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Writer-director Peter Sattler ’s riveting first feature,  Camp X-Ray , leaves aside the controversy surrounding Guantanamo Bay to focus instead on a personal drama of human connection and compassion, deftly drawn out of the mundane day-to-day of cellblock life. In essence a two-hander, it balances a powerfully internalized performance from Kristen Stewart , delivering perhaps her best screen work to date as an inexperienced military guard, against an equally compelling characterization from Peyman Moaadi as the long-term detainee who pierces her shell. Its psychological complexity and rich emotional rewards should ensure this expertly crafted if overlong film a significant audience.

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Sattler signals his storytelling confidence from the outset with the taut pretitle sequence. An Arab-language television newscast shows the familiar image of smoke billowing from the Twin Towers, while a Muslim man prepares to leave his dingy apartment. As he pauses to pray, law enforcement agents burst into the room, slipping a sack over his head and removing him on a journey that — in quick cuts of starkly framed images — transports him and others by air, sea and road to a steel-fenced prison facility where they are placed in individual cages. When the sack is removed, we see the beaten, bloodied face of the man we will come to know as Ali (Moaadi), or detainee 471.

Venue : Sundance Film Festival (Competition) Cast : Kristen Stewart, Peyman Moaadi, John Carroll Lynch, Lane Garrison, Cory Michael Smith, Joseph Julian Soria, Ser'Darius Blain, Julia Duffy Director-screenwriter : Peter Sattler

Jumping ahead eight years to 2009, recent recruit Amy Cole (Stewart) arrives, and with other new guards, is given the standard orientation drill. That includes 12-hour patrol rotation and suicide watch every three minutes through glass windows in each single-occupancy cell door. “They will test you, they will best you,” says Ransdell, the division’s cocky tough-guy corporal who will be Amy’s direct superior. He advises the newbies to share no names or information: “Don’t let them get inside your head.”

Anxious to prove her mettle in the mostly male company, Amy volunteers on day one to be part of a four-member Initial Reaction Force team called to subdue a violent jihadist detainee. Her “Welcome to Gitmo” involves being punched in the face and spat on. In these lean establishing scenes, Sattler and editor Geraud Brisson lay a foundation of atmospheric tension, aided by the measured movement and steady gaze of James Laxton ’s widescreen digital camerawork and by Jess Stroup ’s moody melodic score.

The tone begins to shift, however, during a terrific scene invigorated by unexpected humor in which Amy wheels the book cart along the cellblock corridor and has her first interaction with Ali. Returning a fat volume of Emily Dickinson poems, he sniffs at the other reading material on offer before launching into a rant about the guards withholding the seventh Harry Potter book to drive him crazy. In this and subsequent exchanges he needles “Blondie,” as he calls her — sometimes just toying with her, sometimes getting aggressive or downright nasty — while she endeavors to remain impassive.

Attempting to adapt to the military mindset, Amy participates in beer blasts and fishing trips. She tries to swallow her moral misgivings when she feels Ali is being excessively punished for a transgression in which she was affected. But when Ransdell hits on her and she has second thoughts about consenting, her acceptance in the company is threatened. Observing her talking with Ali in the exercise yard, the corporal uses his power to humiliate both guard and detainee.

Amy’s decision to report Ransdell for conduct violation backfires in another intensely played scene. She is interviewed by the commanding officer ( John Carroll Lynch ), who makes his feelings clear concerning his views on reporting against a fellow officer and also his own resentment at being assigned to Gitmo.

At a fraction under two hours, the film could benefit from minor tightening, particularly during some midsection slackening. But the continuing evolution of Amy’s cautious friendship with Ali is observed with emotional integrity and poignancy, depicting two intelligent people in contrasting states of confinement, each of them seeking contact. The dramatic stakes are elevated in a highly suspenseful climactic scene during which both Amy and Ali reveal more about themselves in a few minutes than they have throughout the entire movie.

“You and me are at war,” Ali says to her at one point. But while the detainee’s innocence as a terrorism suspect is clearly inferred, one of the strengths of Sattler’s screenplay is his refusal to make this a straightforward drama about enemies, injustice or dehumanizing persecution. He makes it about empathy, and in doing so broadens the intimate story to find thematic universality.

Sattler’s grasp of character is strong, as is his guidance of the actors, suggesting distinct personalities among Amy’s macho fellow guards, generally with just a line or two. But the pulse of this enhanced chamber piece, much of which obviously takes place in claustrophobic interiors, is the unlikely bond between Amy and Ali.

Best known for his fine work as the embattled husband in Iranian foreign-language Oscar winner A Separation , Moaadi makes Ali a proud, angry man, as dismissive of his fellow inmates’ hostility as he is of the U.S. military. His bitterness when he strips Amy of her delusions about herself and what she has learned is formidable. But so too is his shattering fragility when he ponders his future.

Ever since the Twilight backlash began, people have questioned whether Stewart is merely a sullen screen queen or a real actor. She puts that argument to rest here, playing a tough, taciturn character driven by an inarticulate urge “to do something important,” but steadily awakened by unpredictable reality. It’s a fiercely contained performance, conveying raw personal insights even when Amy outwardly remains clenched in discomfort. There’s not a moment Stewart’s onscreen here where she isn’t completely transfixing.

Production:  GNK  Production, in association with The Gotham Group, Rough House Pictures, The Young Gang Cast: Kristen Stewart, Peyman Moaadi, John Carroll Lynch, Lane Garrison, Cory Michael Smith, Joseph Julian Soria, Ser’Darius Blain, Julia Duffy Director-screenwriter: Peter Sattler Producers: Gina Kwon, Lindsay Williams Executive producers: Emmy Ellison, Ellen Goldsmith-Vein, David Gordon Green, Sophia Lin Director of photography: James Laxton Production designer: Richard A. Wright Costume designer: Christie Wittenborn Editor: Geraud Brisson Music: Jess Stroup Sales: UTA

117 minutes

Full credits

Production: GNK Production, in association with The Gotham Group, Rough House Pictures, The Young Gang Cast: Kristen Stewart, Peyman Moaadi, John Carroll Lynch, Lane Garrison, Cory Michael Smith, Joseph Julian Soria, Ser'Darius Blain, Julia Duffy Director-screenwriter: Peter Sattler Producers: Gina Kwon, Lindsay Williams Executive producers: Emmy Ellison, Ellen Goldsmith-Vein, David Gordon Green, Sophia Lin Director of photography: James Laxton Production designer: Richard A. Wright Costume designer: Christie Wittenborn Editor: Geraud Brisson Music: Jess Stroup Sales: UTA

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Camp X-Ray Review

Prisoner of azkaban..

Camp X-Ray is a penetrating and thought-provoking experience that offers up some damn fine performances from its actors. This is Oscar-worthy acting for sure, but the movie also announces the arrival of Peter Sattler as an auteur to keep a close eye on. His ability to recognize an actor’s performance accompanied by his camera placement and penchant for longer takes is veteran-level skill that shows promise for the things he has to come.

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A psychotic terrorizes a hospital. Barbi Benton, Chip Lucia. Dr. Saxon: John Warner Williams. Jack: Jon Van Ness. Dr. Beam: Den Surles. Dr. Jacobs: Gay Austin.

This film was made under the title "Be My Valentine, or Else," which was abandoned when the film MY BLOODY VALENTINE surfaced, and altered to "X-RAY." But when VISITING HOURS came out first, the title was changed again to HOSPITAL MASSACRE. Chip Lucia is a psychotic killer who, back in 1961 when they were just kids, sent a valentine to Barbi Benton and was embarrassed when she and her brother laughed at his attempt to get closer to her. Lucia knows how to hold a grudge, so he kills the brother and waits almost two decades to exact his revenge on the comely Benton. Now Benton has just received a job promotion, for which she must take a physical (a good excuse for Barbi to remove her clothes). It's the week before February 14, and she arrives at a local hospital to pick up the results of the routine examination. Lucia, wearing medical garb, kills Gay Austin, Benton's doctor, and switches Benton's X-rays. Another doctor, John Warner Williams, sees the switched X-rays, concludes Benton is quite sick, and orders her to stay in the hospital. Benton dutifully submits and Lucia begins to terrorize the sparsely occupied hospital, leaving a bloody trail of bodies strewn about. Unless you are a diehard Benton fan, this is a must to avoid.

Review:  Flawed ‘Camp X-Ray’ still exposes truths in war on terror

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One thing director Peter Sattler gets right in the new film “Camp X-Ray” is the way life can entrap even without prison walls. Pvt. Cole, a young soldier played by Kristen Stewart, joins the Army to escape small-town Florida and ends up guarding Ali, a Guantanamo Bay prisoner played by “A Separation” star Payman Maadi. From scraps of conversation, you gather Cole was as eager to leave her home’s mentality as much as the reality, only to find a different brand of small-mindedness and repression in this man’s army.

It helps if you think of “Camp X-Ray” and the prison face-off between Stewart and Maadi as a cautionary conversation unfolding more like a theater production than a movie.

In their tête-à-têtes, provocative moments emerge as writer-director Sattler zeros in on the unlikely and uneasy friendship that develops between Cole and Ali.

Otherwise, the drama has a tendency to slip into stereotypes a bit too easily, military misogyny, terrorist ideology and xenophobia among them. It’s not that those elements don’t exist in the real world, especially in places like Gitmo where being detained as a terrorist suspect can feel like a life sentence without the trial. But by boiling too much down to black and white, “Camp X-Ray’s” ability to say something significant is diluted.

Ali is shown briefly in his pre-prison days, somewhere in the Middle East readying a bunch of cellphones for something, no clue as to what, when he’s caught in a sweep. Black bag over his head, in chains, he’s flown to Guantanamo. He’s not the leader of his cellblock; he spends his time reading, praying and resisting where he can.

Cole joins the high-security detail as part of the regular rotation of new blood. Her first real encounter with Ali is over books — she’s delivering them, he’s complaining about a conspiracy to keep Harry Potter’s last from him. She thinks “The Prisoner of Azkaban” is an Arabic book.

With that kind of cultural counterpoint established, Sattler starts escalating the hostilities between Ali and Cole. There is what should be a deal-breaker involving watered-down filth in the face. But watching the punishment that follows, something shifts inside Cole.

The film finds its footing as their fragmented conversations expand. By laying out the arguments in bits and pieces, Sattler keeps the dialogue from overstating the case. If only the other characters were drawn with as much restraint. Instead we have a sea of mostly anonymous, screaming faces in the detainees and, on the other side, jacked-up alpha males in uniform. Sgt. Ransdell (Lane Garrison), Cole’s supervisor, is a particularly nasty piece of work, especially after she resists his advances.

The director, making his feature-film debut with “Camp X-Ray,” comes out of graphic design, and you can see that influence in the way he’s constructed the set. The cellblock, its tight walkways hemmed in by cinderblock and steel rooms, the monochromatic look mirroring the soldiers’ fatigues, does much to create a claustrophobic, minimalist vibe. Director of photography James Laxton goes in close so often it can feel like the walls are coming in.

Within the constraints, Stewart and Maadi find the right rhythms to make Cole and Ali’s exchanges seem real, even Ali’s slight crush — the care he begins taking to trim his mustache — are humanizing.

A locked-down soldier is a good fit for Stewart’s interior acting style. The skittish looks the actress slips between hard glares or icy outrage bring a kind of understated electricity to Cole. And the impact that comes when she softens, even slightly, is first rate as she continues to evolve the further away she gets from “Twilight’s” teenage Bella. But there is an edginess that flows through all of her work — especially effective as a young Joan Jett in “The Runaways” — and one hopes she’ll never lose that.

Maadi is always an intriguing and enigmatic presence on screen. There’s a latent scowl that gives his look a kind of mystery and possible menace even when there is nothing else to indicate it. But it is the way he uses the eyes under those brows that is so potent. Intelligence, outrage, kindness, bemusement, he delivers it all with a glance. If you haven’t seen his performance as a distressed Iranian husband in “A Separation,” which won the foreign language Oscar in 2012, put it on your DVD to-do list.

As to Sattler, though he stumbles in this first outing, at times mightily — the ending is too ludicrous for words — he makes room for Stewart and Maadi to build a different narrative than we’re used to in the war on terror. One that allows a little understanding to creep in.

Follow me on Twitter: @BetsySharkey

-------------------------------------------

‘Camp X-Ray’

MPAA rating: R for language and brief nude images

Running time: 1 hour, 58 minutes

Playing: Sundance Sunset Cinema, West Hollywood

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Former Los Angeles Times film critic Betsy Sharkey is an award-winning entertainment journalist and bestselling author. She left the newsroom in 2015. In addition to her critical essays and reviews of about 200 films a year for The Times, Sharkey’s weekly movie reviews appeared in newspapers nationally and internationally. Her books include collaborations with Oscar-winning actresses Faye Dunaway on “Looking for Gatsby” and Marlee Matlin on “I’ll Scream Later.” Sharkey holds a degree in journalism and a master’s in communications theory from Texas Christian University.

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Kristen Stewart stars in tough, timely Guantanamo drama.

A Lot or a Little?

What you will—and won't—find in this movie.

The movie's main theme is tolerance; the main char

The main character is a female soldier who not onl

A female guard is punched in the face by a violent

A female guard finds a Penthouse magazine in a man

"F--k" and "s--t" are used fairly frequently. "A--

A guard and a detainee have several discussions ab

During a day off, the guards are shown drinking se

Parents need to know that although Camp X-Ray -- a drama set at Guantanamo Bay -- stars Kristen Stewart, it's too mature/intense for Twilight fans. There are potentially disturbing terrorism and prison images, and one scene of fighting with a bloody wound. Detainees throw a cup of feces on the lead…

Positive Messages

The movie's main theme is tolerance; the main character learns to appreciate the human qualities of a detainee who has previously been viewed as a terrorist and a bad guy. She learns to empathize with him and to defend him and even considers him a friend.

Positive Role Models

The main character is a female soldier who not only bravely chooses to operate within with a generally male-oriented military, but also finds room for empathy and tolerance toward a villainized detainee.

Violence & Scariness

A female guard is punched in the face by a violent detainee; he then spits in her face, and she kicks him. She's shown with a bloody nose and lip. A prisoner throws a cup of feces on the female guard's uniform. Terrorist attacks are shown on TV news. Detainees are shown in upsetting conditions, in cages and in small cells, and deprived of sleep. During a hunger strike, guards force-feed a detainee with a tube up his nose. A detainee threatens to kill himself by holding a small blade to his throat. There's a spoken story about a guard who attempted suicide.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

A female guard finds a Penthouse magazine in a man's bathroom. Some of the pictures are briefly shown. A man and a woman kiss, but the woman pulls away and leaves. The man is seen patting another woman on her behind. The main character undresses in her room, with her back to the camera (nothing sensitive shown). A male detainee is forced to shower in front of a female guard (nothing sensitive shown). Some general flirting and innuendo.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"F--k" and "s--t" are used fairly frequently. "A--hole" is also used several times. "Bitch" is used once.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

A guard and a detainee have several discussions about Harry Potter. Coke is mentioned.

Drinking, Drugs & Smoking

During a day off, the guards are shown drinking several beers on a boat and then at a house party. Two women attempt to open cans of beer by bashing them against their forehead. The main character is seen drinking a glass of whisky in a bar.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that although Camp X-Ray -- a drama set at Guantanamo Bay -- stars Kristen Stewart , it's too mature/intense for Twilight fans. There are potentially disturbing terrorism and prison images, and one scene of fighting with a bloody wound. Detainees throw a cup of feces on the lead character's uniform and threaten suicide with a small knife. Pictures from a Penthouse magazine are briefly shown, and male and female characters are shown kissing. There's also some sexual innuendo. Language is fairly strong, with uses of "f--k," "s--t," and "a--hole." Guards drink beer during their day off, and the main character is seen drinking a glass of liquor after a hard day. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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What's the Story?

Cole ( Kristen Stewart ) joined the army because she wanted to do something important. Now she's ended up as a guard at Guantanamo Bay, where her job is not to prevent the prisoners from escaping, but to help keep them alive. Also, there are no "prisoners," but "detainees" (detainees aren't covered by the Geneva Convention). While Cole is pushing the library cart, one prisoner, Ali ( Peyman Maadi ), asks her for the last Harry Potter book. Though she's not allowed to have conversations with prisoners, she eventually finds herself drawn to him to the point that she's willing to risk her army career to protect his well-being.

Is It Any Good?

Written and directed by former graphic artist Peter Sattler, CAMP X-RAY seems like an attempt at a timely and powerful War on Terror movie. It also seems like an attempt by Stewart to break away from her dewy Twilight character into tougher and more grown-up roles. The good news is that it works. The movie plays well on a very basic level, focusing on the viewpoint of one character and forgoing any grand comments or gestures on the rightness or wrongness of it all.

It's relatively intimate, and even though it has some tough moments, it's not deliberately grueling or exhausting. Stewart is quite good, rising above her infamous lip-chewing teen angst into a character who keeps her sadness, disappointment, and even hope locked on the inside. Maadi (from the Oscar winner A Separation ) is also quite good, operating mainly on learned survival tactics. Even though they only communicate through doors and glass, their chemistry is very touching.

Talk to Your Kids About ...

Families can talk about Camp X-Ray 's prison violence . How strong is it? What is shown, and what's not shown? How did it affect you? How does the impact compare to more traditionally "violent" movies?

How is the main character treated by her colleagues? In what ways is she treated as an equal? In what ways is she treated as someone different? Is she a role model ?

Why is it forbidden for guards to converse with detainees? What's at risk? Is it admirable or dangerous for the main character to befriend the detainee?

How much drinking is shown? Why do the characters drink?

Movie Details

• In theaters : October 28, 2014
• On DVD or streaming : June 2, 2015
• Cast : Kristen Stewart , John Carroll Lynch , Peyman Maadi
• Director : Peter Sattler
• Inclusion Information : Female actors, Gay actors
• Studio : IFC Films
• Genre : Drama
• Run time : 117 minutes
• MPAA rating : R
• MPAA explanation : language and brief nude images
• Last updated : July 8, 2024

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Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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X - Blu-ray Review

Intelligent horror. Yes, such a thing actually exists. Granted, that’s not always what the hordes of hungry horror fans looking to fulfill their bloodlust want from the genre, but for those who like their spilled blood and severed body parts served with a touch a class, do I have a film for you!

Ti West ’s ( The Innkeepers ) new slasher film from A24 called X is certainly one of the bloodiest, nastiest little slices of horror to come down the pike in quite some time. With a gritty grind house look and rich with gestures toward meaningful subtexts, X feels like something right out of the ‘70s or ‘80s.

And that’s certainly not by mistake. Having toiled in television over the last several years, West calls his return to horror a love letter to indie cinema. In fact, there’s a nice little film-within-a-film meta commentary going on in X about how horror and porn have always been considered the lowest of lowbrow art forms. But he flips that script by using those two elements in heavy doses to both reinforce that point and to shatter it by making a smart horror film about making a smart porno film. Certainly a risky maneuver, but with X he shows us that there is indeed something more to both of those types of entertainment.

The film opens with sheriff’s deputies investigating what appears to be a murder scene in a remote Texas farm house. We see blood-stained wooden floors and bodies covered with sheets strewn about the property.

The action then jumps to the previous 24 hours where we meet a group of young people who are looking to rent a house to film a porno movie titled The Farmer’s Daughter . We learn the year is 1979 and the surroundings remind us of those in The Texas Chainsaw Massacre , with wide shots of the wooden house with creaky screen doors barely visible above the waves of grass.

The first half of X is made up of the story’s film crew getting it on with cameras rolling. Things take a harrowing turn, however, when the property’s elderly owners show up. Howard ( Stephen Ure ) and Pearl (I won’t spoil who plays her) are a miserable old couple who factor into the story in more ways than one.

As the generational clash begins to heat up, X goes full slasher. Characters are killed off one by one in some very creative – and unexpected – ways. This is where West really shines. He clearly knows how to create a genuine sense of dread as his focus is more on suspense and anticipation than it is on who will die next, or how they will die. As a result, West ’s themes of growing old and regretting the things we didn’t do in our youth carry a much stronger weight.

Filmed during the pandemic in New Zealand (standing in for Texas), X displays s strong period texture thanks to West ’s meticulous attention to detail and his creative use of ’70s music. One fabulously disturbing scene plays under Blue Oyster Cult ’s Don’t Fear the Reaper . Yes, that sounds a bit too on the nose, but he somehow makes it work. Still gives me shivers. It’s the beautiful but disturbing little touches he shows rather than the in-your-face violence that make his X so effective.

Watch X and believe it. Porn and slasher horror can indeed be classy.

Blu-ray + DVD + Digital HD

Home Video Distributor: Lionsgate Available on Blu-ray - May 24, 2022 Screen Formats: 1.89:1 Subtitles : English SDH, Spanish Audio: English: DTS-HD Master Audio 5.1 Discs: Blu-ray Disc; Two-disc set; DVD copy Region Encoding: Locked to Region A

In 1979, a group of young filmmakers set out to make an adult film in rural Texas, but when their reclusive, elderly hosts catch them in the act, the cast find themselves fighting for their lives.

X is presented in AVC encoded 1.90.1 1080p anamorphic widescreen. As expected, the Image quality is very strong, with plenty of detail to be seen in pretty much every single frame of this goopy slaughter-fest.  There is also a good amount of depth to the image as well, which brings to life the story in unexpected ways.   Black levels are crisp and deep, and colors are saturated.  The color palette is naturally well balanced with warm and rich hues. Contrast is excellent, with solid and deep blacks and revealing shadow delineation. Flesh tones are naturally cast.  The special effects and gore are quite rich and, especially when the kills start happening, the effects top notch.

The sound in this haunted spook house is provided via a sparkling English language 24-bit DTS-HD 5.1 track, which supports the dialogue and the soundscape well.

Supplements:

Commentary :

Special Features:

There are a few on this disc and none of them are interesting as you’d hope they’d be. That being said, The X Factor is the most interesting, mixing interviews in with its overview of the movie.

• The X Factor
• The Farmer’s Daughters
• A24 Previews

MPAA Rating: R for strong bloody violence and gore, strong sexual content, graphic nudity, drug use, and language. Runtime: 105 mins Director : Ti West Writer: Ti West Cast: Mia Goth; Jenna Ortega; Brittany Snow Genre : Horror Tagline: Dying to Show You a Good Time. Memorable Movie Quote: "We're gonna be rich...! Feel how hard my cock is." Theatrical Distributor: A24 Official Site: https://a24films.com/films/x Release Date: March 18, 2022 DVD/Blu-ray Release Date: Synopsis : In 1979, a group of young filmmakers set out to make an adult film in rural Texas, but when their reclusive, elderly hosts catch them in the act, the cast find themselves fighting for their lives.

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Review: ‘Camp X-Ray’ Starring Kristen Stewart And Peyman Moaadi

Nikola grozdanovic.

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In the current volatile climate of increasing international tension caused by terrorism, Peter Sattler  chose to tackle a boiling hot subject with his first feature as a director. He’s dipped his fingers in an assortment of filmmaking jars, from being an on-set dresser for David Gordon Green to dabbling in graphic design for “ Star Trek ,” but with his directorial debut, “ Camp X-Ray ,” Sattler zooms in with a microscopic look at the current political milieu and paints the ideology of the notorious Guantanamo Bay detention camp (Gitmo) with one brush. Thanks to his friend Green (who executive produced the project and was instrumental with his support), media magnet  Kristen Stewart , and one of Iran’s most recognizable thespians in Peyman Moaadi , Sattler was successful in getting his film off the ground for a subject that’s clearly close to his heart (he wrote the original screenplay). Unfortunately, as clear as the lines between good and evil are in the film, so too is the line between the inexperienced Sattler and the talent he’s working with.

The film wastes no time in stating the philosophy it unwaveringly follows to the closing credits. The images of the twin towers collapsing are seen on the television set owned by Ali (Moaadi), a Muslim preparing for prayer. In the middle of doing so, he is taken and in a deportation montage, we follow him as he’s transported to Gitmo. With no knowledge of his past, his life, or his beliefs, the only thing we can be certain of is his innocence and faith. Eight years later, Army Private First Class Amy Cole (Stewart) stands out as the only woman in a group of recruits attentively listening to the rules of the house dictated by Corporal Randy Ransdell ( Lane Garrison ). “This is still a war zone,” is one of many things the Corporal makes sure the newbies get through their head, and it won’t be the last time “war” is used to describe the relationship between the detainees and the guards. When someone asks why they have to use “detainees” instead of “prisoners,” Amy is swift with the response: “Prisoners are subject to the Geneva convention, detainees are not.” Subtlety and nuance, it would seem, are imprisoned as forcefully as innocent people in this camp.

After going through the experience of her first altercation with a detainee during a routine IRF (Initial Reaction Force), Amy is assigned to bring books to the prisoners and guard them during the day shift. This is how she first meets Ali, the intrepid, talkative, and proud Muslim who is continuously tortured —a mong other torments, he’s not allowed to read the seventh book in the ‘ Harry Potter ‘ series. Two years he’s been waiting for “ Harry Potter and the Deathly Hallows, ” and he teases Amy over it. He nicknames her “Blondie” and persuades her into talking back by recognizing how much in common they have saying, “We are both stuck here. It is boring for both of us.” Amy’s perception of her superiors, and her own role as a member of the U.S. military defending American freedom, starts to gradually crumble, thanks to the human connection she makes with Ali. Her treatment in the camp by the chauvinistic corporal and indifferent Colonel ( John Carroll Lynch ) only help to foster her growing disillusionment with a system she’s promoted and looked up to all her life.

Whether you watch “Camp X-Ray” fully aligning yourself with its politics, or distancing yourself from them, a clear separation of cinema and state pervades the film’s merits and demerits. Of the former there are sadly only a handful, while the latter boasts large numbers even though they all stem from a single source. Some critics call Stewart miscast in the lead role, due to the obvious lack of any true military grit her characters shows. We would beg to differ. The obvious lack of true military grit is the whole point of her Amy Cole, a role the young Stewart tackles with admirable fortitude. In fact, this could be the first role that she entirely owns and where we’re hard pressed to imagine anyone else in. Her standoffish gaze works in the favor of a steadfast soldier, and once Amy’s blinders start to come off, so too does Stewart’s talent for subtle emotion. She can add “Camp X-Ray” to her recent roles in “ Still Alice ” and “ Clouds Of Sils Maria ” as proof that if you’re not taking her seriously, you’re grossly out of touch. Helping her along the way is Moaadi, most known for his brilliant turn in Asghar Farhadi ’s art-house hit “ A Separation .” Even while speaking some of the film’s most trite dialogue, Moaadi brings a distinguished class to the role of a much-too-one-dimensional character. Meanwhile, Jess Stroup ’s score is full of harmony that illustrates the tense atmosphere as movingly as the awkwardly-on-purpose chemistry between Stewart and Moaadi.

It is in Sattler’s screenplay where all the film’s demons are found. Any sense of real attachment, genuine conflict, or emotional build-up to the cathartic climax are subdued and killed before ever getting a chance to reach us, thanks to a self-aware script bordering on the ridiculous. Can it be possible that a soldier who cites the Geneva convention and brings books to the detainees can tell one, “Thought you only read the Koran” with a straight face? When a soldier comments on the brutality of a certain program the detainees go through, the corporal whips back “And what are you? The Red Cross?” The film is full of examples like this, which ultimately render it wholly uninspiring and ineffective. “Camp X-Ray” is as transparent in its message as the title suggests, and the scan shows a malignant tumor in the very bones of the film’s structure. An on-the-nose approach smothers all subtext into submission and leaves nothing of interest alive. [C-]

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Review: camp x-ray.

An expensively mounted treatise on important issues that’s terrified to dig in obsessively, yet so ramrod-stiff with indignation that it never comes anywhere near compelling entertainment.

Peter Sattler’s Camp X-Ray abounds in the heavy-handed symbolism we’ve come to expect from 13 years of War on Terror movies, built on a kinship between two leads that harkens back to Stanley Kramer’s hoary issue dramas of the 1950s. Kristen Stewart stars as Amy Cole, a doe-eyed private deployed to Guantanamo Bay for 12-hour-long suicide-watch shifts, and Payman Maadi is Ali, a detainee arrested in the film’s opening minutes with no cause or charges given. The world’s least-experienced filmgoer will probably be able to tell from their meet-cute that a Very Important Lesson is due, but for a spell the question of a happy ending is an open one thanks to the film’s feeling of despair, imparted largely by James Laxton’s smartly anemic location cinematography.

It’s only once military salutes to the American flag are intercut with images of detainees praying toward Mecca, and characters have begun addressing the question of who the real terrorists are, that Camp X-Ray segues from being an utterly average potboiler to a flummoxing would-be polemic. The film seems to fancy itself a step-by-step procedural, yet Sattler’s script confirms nothing for the audience that they couldn’t discern from the get-go: Detainees are abused and neglected, to the point that the wardens themselves appear prisoners of a rigidly unfair paradigm. Maadi gives a fair toss to the thankless task of representing the post-9/11 “other,” but he conspicuously stands out from the pack due to his articulateness and creativity. Stewart’s turn as Amy mostly consists of pouting and biting her lower lip, looking alternately bored, or like she might burst into tears at any minute. The pair are outright ciphers, explicating the East-meets-West obviousness of the screenplay every time they speak.

Within Amy’s narrative, at least one subplot comes close to sticking: She makes out with, then refuses, her overeager commanding officer (Lane Garrison), who proceeds to coldly ostracize her within the chain of command, rendering her complaints about Ali’s mistreatment dead on arrival. The overseeing colonel, played by John Carroll Lynch, can’t let a conversation go by without pronouncing his distaste for the camp, comparing it unfavorably to his grandfather’s heroic bombing missions in WWII. His letdown is consistent with Amy’s, and their deflated sense of American pride curiously emerges as Camp X-Ray’s abiding dilemma—not Ali’s mistreatment, or the false grounds on which he was abducted. Both sobering and pandering (at one point Amy complains, “It’s not as black and white as they said it was gonna be!”), Sattler’s film feels quintessentially Sundance: an expensively mounted treatise on important issues that’s terrified to dig in obsessively, yet so ramrod-stiff with indignation that it never comes anywhere near compelling entertainment.

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Steve Macfarlane

Steve Macfarlane is a film curator and writer from Seattle, Washington. His writing has appeared in BOMB , Cinema Scope , Hyperallergic , The Brooklyn Rail , and other publications.

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X: The Man with the X-Ray Eyes (1963)

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'What is the X-Ray feature on Amazon Prime Video?': How to find and view bonus material about TV shows and movies

• X-Ray is an exclusive feature on Amazon Prime Video that displays bonus material about a show or movie, similar to the bonus features on a DVD.
• X-Ray can show you information about the actors in a scene, the musical soundtrack, trivia, and more.
• To activate X-Ray, you generally only need to click or tap within a video that's currently playing.  
• Visit Business Insider's Tech Reference library for more stories .

Amazon Prime Video 's X-Ray feature is, at least for now, not available on any other video streaming service. X-Ray works like the bonus features you find on a DVD or Blu-ray . With just a few clicks or taps, you can get additional information about many of the TV shows and movies on Prime Video.

When you activate X-Ray, Prime displays an overlay on top of your show, offering additional information. 

Check out the products mentioned in this article:

Amazon prime video ($8.99 a month at amazon), roku (from $49.99 at roku), there are several kinds of information x-ray can show.

• Cast and characters . This is the most common X-Ray feature. In any given scene, it will display the names of the actors and the characters they are playing. Because it only displays information about people who are in that scene, it makes it easy to learn about actors and recall the names of the characters they are playing. 
• Music . X-Ray displays information about the music in the scene.
• Trivia . For some shows, X-Ray inserts trivia at specific points in the show.
• Bonus content . Some shows have scene commentary from the director, cast or crew, much like commentary tracks on DVD. 

You can see X-Ray information about the cast of a show or movie. Dave Johnson/Business Insider

How to use x-ray on prime video.

No matter what device you are using to watch Prime Video, X-Ray is always just a click or tap away:

• Web browser . Use your mouse to click in the video. You should see the on-screen controls. In the upper left, click "X-Ray." It'll disappear after a few moments, so to see X-Ray information again, just move the mouse. 
• Mobile device . Tap the screen. The X-Ray information will appear automatically, but fade after a few moments. Tap again to refresh it.
• Smart TV or streaming media device . Use the controller to activate X-Ray. On a Roku player, for example, press any of the directional buttons to display the on-screen controls, and X-Ray information will appear as well. 

You probably noticed that in addition to the information that's relevant to the current scene, X-Ray also has an option to "See all." If you choose this, the video will pause and you'll see all the X-Ray information available for your show. It has the ability to jump directly to specific scenes, see the full cast list, musical selections, bonus material, and more. 

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Camp X-Ray Review

Of all the contentious issues that have plagued Barack Obama in his two terms as U.S. President, and there have been many, perhaps none are more simplistic and complicated in equal measure than the question of what to do with the detainee camp in Guantanamo Bay, Cuba. A facility that’s outlived its usefulness but remains politically sensitive for the implications of shutting it down, it still sits on the south-eastern shore of Cuba, with 149 men in custody, 76 of whom will never leave.

Camp X-Ray , the feature film debut of Peter Sattler, doesn’t offer an answer to that burning question, and even though the crux of the film is to unnecessarily remind us that Guantanamo’s detainees are people, too, it must be said that  Camp X-Ray  without a doubt a very well-acted and compelling reminder.

The story is a fictionalized account of life inside “Gitmo,” as a fresh batch of army MPs arrive at the base to guard the detainees. Among them is small town/small time girl Amy Cole (Kristen Stewart), who signed up for the army to make something of herself. Her dream is to go to combat in Iraq, but she attacks her duties as a prison guard with gusto. The experienced officers and men are almost cynical in the commission of their duty, it’s all old hat to them, but for Cole and the new recruits, Camp X-Ray is a fascinating place.

Cole’s presence on the cell block comes to the attention of Ali (Peyman Moaadi), who teases the new guard by calling her “Blondie” and gives her a hard time about the prison library not having the seventh and final Harry Potter book, the uncertainty of the fate of the boy wizard and his friends being the cruelest type of torture at Gitmo, apparently.

I’m not sure if it was Sattler’s intent to lend so much comedy to Ali’s first scenes, but he does, especially when the character goes off the deep end about being left in the dark as to the intentions of Severus Snape, or trying to get Cole’s attention with aspersions like, “I’m talking to you, Blondie!” I actually wondered for a minute if Moaadi were playing the Yakov Smirnoff version of a Gitmo detainee.

Things quickly get serious, though. Ali is taken away when he tosses a cup full of human waste onto Cole, and while there’s no montage or continuous scenes of detainee abuse, we get the message that such conditions and treatment are not new to either Ali or the more permanent staff of Gitmo. Life there is, sadly, a game, a fact that’s reinforced later when a detainee hunger strike aims to get an elliptical machine for the exercise yard. The C.O., played by John Carroll Lynch, agrees, but with a certain dispassionate tenor and lack of urgency that says he’s tired of this game as well. Naturally, the elliptical sits in the yard unused.

The mundane nature of life in Gitmo is compelling, and scenes of detainees in black hoods and orange jumpsuits is still a startling Orwellian image, but the metaphors with which Sattler plays are hand-me-downs used in other works about the War on Terror. Cole relates a story about a trip to the zoo as a child and seeing the caged lions, telling Ali that she thought the lion should be able to choose whether or not he should live in captivity. That’s a little on the nose, wouldn’t you say?

The character of Ali is also kind of problematic, because he’s got a fine mastery of the English language. He’s clearly intelligent and educated, he’s got a sense of humour in spite of his circumstances, and he was “black-bagged” from his home in Germany. It would be almost crazy for Cole not to find common ground with Ali, and for Ali not to find common ground with Cole. That’s not to diminish the excellent performance by Moaadi, but the only time we have interactions with any other detainees is when they’re yelling at the guards or acting up to the point where the guards are forced to be more, ahem, harsh in their punishment. A subplot about Cole being ill-treated by her superior Corporal Ransdell (Lane Garrison) when she spurns his aggressive sexual advances also has potential but plays out in movie-of-the-week fashion.

Where  Camp X-Ray is gripping is when it’s just Stewart and Moaadi together playing off one and other without the pretense of hot-button political allegory. Stewart gets skewered for her acting chops because of Twilight , but she’s got skills, and Sattler makes good use of her gifts. The actress plays right into Cole’s feeling of ambivalence, not just about the treatment of detainees, but about finding her place in the army and on a base that’s bigger than her hometown.

Meanwhile, Moaadi as Ali ranks comfortably in the movie trope of prisoners with a hearts of gold yearning to breathe free, like Andy Dufresne in The Shawshank Redemption or Hilts in The Great Escape . But as noted above, it’s almost too easy to like him for the role he’s playing.

One thing that I want to point out is that the film captures the tedium of life at Guantanamo Bay quite well. There are several long takes of the guards walking in a circle around the cell block looking in on prisoners one at a time to make sure they’re not doing anything untoward, like killing themselves. As Ransdell points out the new guards, they’re not there to stop detainees from escaping; they’re there to prevent them from dying. It’s a fairly grim, but apt, assessment of their duty on the base. The cyclical nature of life in Gitmo is a recurring theme, and it adds surprising tension in the films climactic conversation between Cole and Ali.

Ultimately, Camp X-Ray isn’t going to change hearts and minds in real life, and it’s not exactly persuasive as a narrative either. It is quite compelling as a character piece though, and it’s very well-acted by the two leads who are natural, entertaining and capable of creating genuine moments of surprise and spontaneity. There’s no denying that this is a solid first feature effort from Sattler, one that shows a lot of promise and definitely marks him as a director to watch out for.

CAMP X-RAY Review

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After 25 years, ridley scott finally gets his rhino fight scene in 'gladiator ii', art the clown gets blood-soaked funko pop collection ahead of 'terrifier 3'.

[ Note: This is a re-post of my  Camp X-Ray  review from the 2014 Sundance Film Festival.  The movie opens in limited release this weekend. ]

In Camp X-Ray , writer/director Peter Sattler attempts to chronicle life at Guantanamo Bay through the eyes of a young female private, played by Kristen Stewart .  It’s touchy subject matter for sure, and though Guantanamo Bay has been no stranger to controversy, there are plenty of avenues worth exploring.  While the film features a compelling central relationship between the aforementioned young private and a foreign detainee, it too often veers into melodrama or goes for the easy cliché, making for somewhat of a mixed bag.  Read my full review after the jump.

Stewart plays a young private named Amy Cole who has been newly stationed at Guantanamo Bay.  In the opening scenes of the film, we see Cole go through orientation.  Right off the bat her superior officer makes it known that Gitmo’s inhabitants are to be referred to as “detainees” and not “prisoners,” since the latter is covered under the Geneva Convention.  Cole is told upfront that her job is not to keep the detainees from escaping, but instead to keep them alive (ie. preventing suicide), which is clearly very different from what the young private expected of her duties.  Cole’s main task at Guantanamo Bay is watch duty, in which she patrols a small cell block of detainees, going window to window every three minutes to check in on them.

As the story progresses, Cole comes into contact with an detainee named Ali (played by A Separation ’s Peyman Moaadi ), who has been at Guantanamo Bay for eight years.  Ali is an openly uncooperative detainee, but he’s also inquisitive; on Cole’s first day, he charismatically talks to her about how much he likes the Harry Potter books, but when Cole tries to remain professional and rebuffs his attempts at conversation, things turn nasty.  As Cole settles into her job, though, she starts to loosen a bit and she and Ali strike up a friendly relationship.  There are a number of lengthy scenes between these two characters that are fantastic.  The actors have great chemistry, and Moaadi brings an excellent balance of frustration, desperation, and anger to his character.  However, when Sattler tries to show Cole interacting with her fellow soldiers and officers, things get dodgy.

The script veers into melodrama territory quite often, especially towards the beginning of the film when Sattler attempts to show the burgeoning bond between the new soldiers.  Levity is fine, but cheesy jokes and tired clichés take away from the central conceit of the film, which raises far more interesting and difficult points.  Because these detainees are suspected terrorists, does that mean they’ve forfeited their basic human rights?  Is it moral to treat another human in an inhumane manner, no matter what they have done?  When does punishment cross the line into torture, and is prolonged detention without explanation the ultimate form of torture?  These are tough questions, and when Sattler chooses to linger on them the film excels, but when his focus turns to comradery or animosity amongst the soldiers, the film falters and feels more like a TV series on The CW.

That being said, Sattler proves to be a formidable talent behind the camera as he drums up plenty of impressive visuals throughout the film.  The filmmaker is able to capture long dialogue scenes between Cole and Ali in a fluorescent-lit hallway with a mixture of immediacy and intimacy that keeps things from ever getting stale.  Some of the tired tendencies from the other portions of the film occasionally bleed into the Cole/Ali scenes, especially when Sattler feels the need to lay a theme or idea on too thickly, but for the most part these remain the most engaging and impressive portions of the film.

Stewart is fine in the role of Cole, and while Moaadi brings a lot to the relationship of the two central characters, Stewart has a little trouble with some scenes that require more range than she’s able to portray.  The actress falls back on biting her lip or looking frustrated one too many times, and while she’s solid in many scenes, there are a few where I found myself wondering what another actress could have brought to the role.  Stewart is stretching herself, which is admirable, but she’s just not able to tap into the raw emotions that the character requires.

Though the script could do with less melodrama and more nuance, Camp X-Ray is compelling more often than not.  Moaadi is excellent in the role of Ali, and he and Stewart are able to play off of each other quite well.  The issues surrounding Guantanamo Bay would probably be better served by a more consistent script, and while Camp X-Ray never reaches its full potential with regards to further exploring those themes, it remains a mostly solid character drama.

• Kristen Stewart

Roger Corman’s Most Lurid Movie Still Shocks Decades Later

We hope eye stuff doesn’t make you uncomfortable.

As Les Baxter’s electronic score swells, a large, bloodshot eyeball fills the black frame for nearly 30 seconds. Next, a detached eyeball boils in a beaker filled with pink fluid. Finally, there’s a close-up of a pair of sad, blue eyes. The opening sequence perfectly sets the tone for one of prolific director Roger Corman’s weirdest and most stylish films.

The sad blue eyes in 1963’s X: The Man with the X-ray Eyes belong to Academy Award-winning actor Ray Milland, in a role that straddles the line between trash and high art. He plays Dr. James Xavier, a scientist working on a serum that will allow humans to see ultraviolet and X-ray wavelengths. Like fellow Corman horror great Vincent Price , Milland brings an honest intensity and pathos to what could have been a stereotypical mad scientist.

In an Uproxx interview , Corman said that when he was developing the film’s outline he wanted to craft a story about a man who can “see through things, and see through things increasingly,” and that in one iteration his lead happened to a jazz musician who took too many drugs. Although Corman landed on a more traditional scientist, he did incorporate aspects of psychedelic drug culture that would later appear in his 1967 film The Trip. Filmed with the early tinting process Pathécolor, cinematographer Floyd Crosby (appropriately, the father of musician David Crosby) used kaleidoscopic filters and colored gels to emulate what vision that goes beyond the normal light spectrum might be like.

Corman had just come off a slew of Edgar Allan Poe adaptations, and while The Man with the X-ray Eyes is modern philosophical sci-fi, it’s still laser-focused on a man’s descent into madness. After a battle over funding is lost, and an experiment kills a monkey when the poor animal can’t process what it’s just seen, Dr. Xavier begins testing his eye drops on himself. At first, things go well. Dr. Xavier attends a groovy cocktail party with his lady friend Dr. Diane Fairfax (Diana Van der Vlis), where the randy doctor can see through everyone’s outfits. Corman pushes cinema into the swingin’ sixties, filming nude women from the neck up or with their backs to the camera.

The serum also allows Xavier to do amazing things, like perform a life-saving surgery on a young girl. But his brusque behavior and delusions of grandeur rub his colleagues the wrong way, and a friend soon winds up dead. It’s here we see the true strength of Milland’s acting talent. He can utter lines like “With my new eyes, we’ll explore all the mysteries of creation,” in a way that makes them sound almost Shakespearean.

X’s effects are simple, but haunting.

The latter half of the film finds Dr. Xavier in more grotesque settings. After fleeing the accident, he finds work as a carnival spiritualist, like an even more perverse twist on Nightmare Alley . Corman brings this setting to life with brightly colored belly dancers in primary colors and a large crowd of extras, which helps belie the film’s modest budget. Milland’s white blindfold emblazoned with a third eye, along with his yellow satin robe bejeweled with silver zodiac symbols, is perhaps the most instantly iconic costume in Corman’s long filmography.

Dr. Xavier’s journey takes on further Shakespearean depths as he and his sketchy manager (Don Rickles) set up shop in a dingy part of town, where Dr. Xavier works as a miracle man for the destitute. Even while perpetually sporting thick, dark glasses, all Dr. Xavier can see is the sickness in people. At night, he sees through his eyelids. Desolate, he prays to know darkness again.

Finally, in a sequence that feels in conversation with something like Wise Blood , Flannery O’Connor’s 1952 novel about anti-religious fervor, Dr. Xavier finds himself at the end of his rope. His eyes now fully black from the serum, he flees into the Nevada desert and discovers a frenzied religious revival tent. When the preacher asks if he’s come to be saved, he says he’s “come to share what he’s seen.” Psychedelic colors swirl as the preacher fervently recites the gospel, “If thine eye offends thee, pluck it out,” and Dr. Xavier finally succumbs to his madness. The shocking ending cements X: The Man with the X-ray Eyes as a high point amongst Corman’s supposedly “low” films, proving it doesn’t take a big budget to make a film with a grand thematic scope.

• Science Fiction

Screen Rant

Every x movie in ti west's trilogy, ranked worst to best.

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MaXXXine's Sharp Rotten Tomatoes Score Drop After X & Pearl's 90% Successes Explained

Maxxxine ending explained, 2022 horror with 94% on rotten tomatoes becomes streaming hit.

Warning: Contains SPOILERS for X, Pearl, and MaXXXine!

• The X Trilogy, consisting of X, Pearl, and MaXXXine, is a series of horror films created by Ti West. The first film, X, is a traditional horror film inspired by early slashers from the 1970s, focusing on a group of young adults who find themselves in a rural farmhouse being hunted down by an elderly couple. The film's strong cast of characters and themes of sexuality make it a memorable entry in the genre.
• The second film, Pearl, is a prequel to X, set in 1918 and following a younger version of the female killer from the first film. Pearl is the most stylistically unique of the three films, mimicking the style of early Technicolor films and blending horror with a cheery, family-friendly aesthetic. Mia Goth's performance as the titular character is the standout of the trilogy, making Pearl the best entry in the series.
• The third film, MaXXXine, updates the 1980s Los Angeles setting and focuses on the serial killers and porn industry of the time. While it starts off strong, the final act falls apart with an unbelievable twist ending and a police shootout that feels out of place compared to the rest of the film. The themes of desiring fame

With the release of MaXXXine , Ti West's X trilogy has come to a close, and here is every movie in the series ranked worst to best. Starting with X in 2022, Ti West's horror trilogy took viewers on a decades-spanning journey that explored the horrors and violence that could come about from desires to attain fame, with the story of Maxine Minx and Pearl having a lot of interesting parallels. While each film in Ti West's X trilogy is good, some are better than others, and here is a complete ranking of each one from worst to best.

Ti West's X horror trilogy is much more than a simple series of slasher films, as it is an interesting exploration of how film in its different form has impacted the world throughout its history. Each film in Ti West's X trilogy pays homage to a different era of film, and while X , Pearl , and MaXXXine are all tonally and narratively distinct from each other, this common theme and a few common characters link the trilogy together. MaXXXine wrapped up the story that was first kicked off in X , and now it's time for a retrospective on which film was best.

75% on Rotten Tomatoes

In 1980s Hollywood, adult film star and aspiring actress Maxine Minx lands her big break, but her rise to stardom is jeopardized by a mysterious killer targeting starlets. As the body count rises, secrets from Maxine's past threaten to surface, intertwining her quest for fame with a deadly game of survival.

MaXXXine is the third and final film in Ti West's X trilogy, and out of the three films, it turned out to be the worst one. MaXXXine acts as a direct sequel to X , the first film in the series, with it following X protagonist Maxine Minx as she heads to Hollywood in an attempt to continue her pursuit of stardom. After scoring a major role in a highly-anticipated sequel, Maxine's past comes back to haunt her, with a shadowy figure and a PI seemingly threatening to expose her role in the massacre on Howard and Pearl's farm to the world.

Like the other films in the X trilogy, MaXXXine is a homage to a specific period of film, with it being a tribute to the video nasties and direct-to-video horror B-movies of the 1980s. This updated 1980s Los Angeles setting breathes a new life into the X trilogy, with the constant 80s music, neon lights, and crowded LA streets making MaXXXine feel much bigger than its predecessors. Moving away from the rural farm settings and focusing on the serial killers and porn industry of the 1980s was a great idea, with it making the first two acts of the film fantastic.

However, MaXXXine really falls apart in the final act , where it is revealed that the shadowy figure who has been trailing Maxine is actually her evangelical father who was first teased in X . This twist ending is completely unbelievable, as he then kidnaps Maxine and brings her to his religious cult where they hope to make a movie that purportedly features a real-life exorcism. While this could have been an interesting commentary on the Satanic Panic, the reveal and ensuing police shootout is far too goofy for MaXXXine , with it feeling jarringly different from the first hour of the film.

The themes of desiring fame and religious oppression were present in both X and Pearl , and while MaXXXine makes these issues much more integral parts of its story than its predecessor, it seems to have much less to say. In the attempt to mimic the violence and style of the 1980s B-horror movies that MaXXXine is homaging, it loses the soul of what made the first two X movies great. There isn't much left to think about when the credits roll, as MaXXXine 's commentary on the dark side of attaining fame has been explored so many times before.

If MaXXXine 's third act had lived up to the first two, the new setting, fast pace, and grander scale could have led to it being just as good as its predecessors in the X trilogy. However, the climax and resolution of the film was a real disappointment, leaving a lot to be desired from the final moments of the X trilogy . In an attempt to tie MaXXXine 's story back into the reveal of Maxine's religious upbringing from the ending of X , MaXXXine completely falls apart, with it adding too much camp to the one aspect of the X trilogy that should have been played straight.

MaXXXine is the third entry in Ti West’s X trilogy, but it may also be the worst of the three considering its drop in Rotten Tomatoes score.

94% on Rotten Tomatoes

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Director Ti West presents X, a horror slasher film set in 1979 in rural Texas that follows a group of amateur filmmakers attempting to shoot a pornographic film. When the group gets further along in the film, and the elderly homeowners take notice, they slowly realize they've drawn their formerly gracious hosts' ire - and jealously.

Ti West's X was the first film in the X trilogy , and it is what kicked off the events that lead to the prequel film Pearl and the sequel film MaXXXine . X follows a small adult film crew who travels to a farm in rural Texas, not telling farm owners Howard and Pearl about their intentions to shoot a pornographic film while they are there. After learning about what is truly going down, the elderly couple picks off the adult film crew one by one, with a massive amount of dead bodies piling up by the end of X 's massacre.

X is the most traditional horror film in Ti West's X trilogy, with it clearly being inspired by the early slashers of the 1970s. X was clearly influenced heavily by The Texas Chain Saw Massacre , with the story of a group of young adults finding a rural farmhouse only to be picked off by a strange family being shared by both films. However, this isn't a bad thing, as the grounded and smaller-scale horror story was a breath of fresh air, acting as a throwback among many more complex and higher-stakes mainstream horror flicks.

The strongest part of X is its cast of characters, as unlike many other slasher films, each member of the main cast is a memorable addition with something interesting going on. Despite most of the characters in X 's cast ending up dead by the end of the movie, they are still beloved, with additions like Jenna Ortega's Lorraine, Brittany Snow's Bobby-Lynne, Scott Mescudi's Jackson Hole, and the rest of the characters being a ton of fun . The main cast of X is much bigger than the subsequent two films, with it being the strongest roster of the trilogy.

Like many other early slasher films that inspired X , X heavily focuses on themes of sexuality, especially that of its female characters. X is more blatant in its exploration of this topic than some other popular films that have tackled it, as the killers Howard and Pearl are textually punishing the adult film crew for their engagement in sex and the creation of pornographic films. This concept reaches a peak when it is revealed that Maxine comes from a conservative religious upbringing, a masterful setup that is kneecapped in MaXXXine 's ending.

Due to the nature of X being the first film in Ti West's X trilogy, it is a little more stylistically generic than its two follow-ups. However, this isn't necessarily a bad thing, as being a straightforward slasher with strong characters is all X needed to be in order to be remembered as a great modern horror film . X is made better by its follow-ups, expanding on the world, themes, and characters in a way that makes X even better on a rewatch.

The ending of MaXXXine serves as a fitting if quietly ambiguous finale to the X trilogy, even while leaving room open for further sequel expansion.

92% on Rotten Tomatoes

Mia Goth returns as Pearl, the titular killer with dreams of being a star but is resigned to a life as a caretaker on her family's farm. Pearl desperately yearns for a Hollywood life, but her devout mother and ailing father keep her grounded in a life she doesn't want. When a talent recruitment group comes to her small town, she decides to try her luck and show off her "X" factor. However, to get what she wants, her dark tendencies get the better of her, sending her on a path of carnage to escape to a life of stardom. 

Of the three films in Ti West's X trilogy, the second film Pearl was the most controversial upon its initial release, but it has turned out to be the best of the three. Pearl acts as a prequel to X , with it being set in 1918 and following a much younger version of the female killer from X . In the film, Pearl wants nothing more than to escape her secluded farm and become a star, although her repressive surroundings cause her desires to break out in much more terrifying and violent ways.

Although Pearl is a semi-generic killer with some humanity in X , she is transformed into the strongest character from throughout the trilogy in Pearl . Pearl perfectly sets up the woman that the titular protagonist becomes in the first film, with her desires for fame and an escape from her surroundings paralleling that of X and MaXXXine protagonist Maxine Minx. Mia Goth plays both Pearl and Maxine in the X trilogy , with this brilliant casting choice creating an even stronger thematic tie between the two characters.

Compared to X and MaXXXine , Pearl is the most stylistically unique of the three films , with it not being a direct homage to a specific genre of horror. Instead, Pearl mimics the style of early Technicolor films and beloved family classics like The Wizard of Oz , although the violence and horror elements create a unique blend of styles and genres that can't be found anywhere else. This is what makes Pearl so special, as it creates a new form of uncomfortably cheery horror that would be incredibly difficult to get to work with nearly any other story.

Mia Goth's performance as Pearl is the most impressive performance in the trilogy, as the entire film rides on her take on a cheery farmgirl who wishes to be a star. Mia Goth's performance in Pearl's eight-minute monologue at the end of the film is absolutely incredible, with it easily being the best scene in the entire trilogy. Despite her being a crazed murderer, Mia Goth still manages to make the audience feel bad for Pearl, something that carries over into X .

Although Pearl is the least traditional horror film, it is the best entry in Ti West's X trilogy, with it most likely to remain the most iconic of the three years down the road. Pearl is one of the best entries in the filmographies of Ti West and Mia Goth , and it acts as one of the best franchise prequels ever. While MaXXXine and X are still really good films, they can't compare to how great Pearl is.

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MANDALORIAN S2 US/BD2/BD

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Product Description

Debuting on Disney+ in 2019, the first live-action "Star Wars" television series is a western-flavored adventure, chronicling the exploits of a bounty hunter (Pedro Pascal) belonging to the warrior culture known as the Mandalorians. In the years following the Empire's defeat, the Mandalorian becomes the unlikely guardian to a mysterious Force-wielding alien child, risking his own life to ensure his charge's safety. Carl Weathers, Giancarlo Esposito, Amy Sedaris co-star.8 episodes on 2 discs. 5 1/2 hrs. Widescreen; Soundtrack: English.

Product details

• Aspect Ratio ‏ : ‎ 2.39:1
• Package Dimensions ‏ : ‎ 6.77 x 5.35 x 0.59 inches; 6.4 ounces
• Director ‏ : ‎ Jon Favreau, Peyton Reed, Robert Rodriguez, Carl Weathers, Bryce Dallas Howard
• Media Format ‏ : ‎ NTSC, Subtitled
• Run time ‏ : ‎ 30 minutes
• Release date ‏ : ‎ December 12, 2023
• Actors ‏ : ‎ Pedro Pascal, Gina Carano, Katee Sackhoff, Temuera Morrison, Giancarlo Esposito
• Subtitles: ‏ : ‎ French, Spanish, English
• Language ‏ : ‎ French (Dolby Digital 5.1), English (DTS-HD High Res Audio), Spanish (Dolby Digital 5.1)
• Studio ‏ : ‎ Sony Pictures Home Entertainment
• ASIN ‏ : ‎ B0CGM88WDX
• Number of discs ‏ : ‎ 2
• #5,455 in Blu-ray

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