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Erster Trailer zum neuen Wolverine-Film Logan, eine wegen Rechtebullshit nur lose Adaption von Mark Millars Old Man Logan, inszeniert von James Mangold (Walk the Line, Copland, The Wolverine). Der Trailer sieht durchaus schick aus, wobei ich nach den ersten beiden vermurksten Teilen nun wirklich keinerlei Erwartungen an den Film habe. Mal sehen.
Außerdem der erste richtige Trailer (nach den Virals gestern) zu Gore Verbinskis A Cure For Wellness, zum den Psychothrillern Pet und Always Shine sowie zu Netflix' Obama-Biopic Barry.
Set in the future of 2024, Logan and Professor Charles Xavier must cope with the loss of the X-Men when a corporation lead by Nathaniel Essex is destroying the world leaving it to destruction, with Logan's healing abilities slowly fading away and Xavier's Alzheimer's forcing him to forget. Logan must defeat Nathaniel Essex with the help of a young girl named Laura Kinney, a female clone of Wolverine.
An ambitious young executive is sent to retrieve his company’s CEO from an idyllic but mysterious “wellness center” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem. When he begins to unravel its terrifying secrets, his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests here longing for the cure.
Sweet but lonely Seth (Dominic Monaghan) spends his days working in an animal shelter. In a hopeless daze, he has a chance encounter with beautiful young waitress Holly (Ksenia Solo) who awakens something within him. Obsessed, he tries everything to win her over. Time and again, she rejects him, leading him to steal her journal and make a plan: to kidnap Holly. After Seth takes Holly, she wakes up in a cage beneath the animal shelter, treated like the dogs living above her. As Seth's lies begin to catch up to him, Holly toys with his emotions and his certainty of the situation falls apart. A bloody psychological battle begins where the line between prey and predator, victim and criminal blurs, leaving a deadly trail along the way.
Two women, both actresses with differing degrees of success, travel north from Los Angeles to Big Sur for a weekend vacation in Always Shine, Sophia Takal’s twisty, psychological drama. Both see the trip as an opportunity to reconnect after years of competition and jealousy has driven a wedge between them,but upon arrival to their isolated, forest retreat, the pair discovers that their once intimate friendship has deteriorated into forced conversations, betrayals both real and imagined, petty jealousies, and deep-seated resentment. As the women allow their feelings to fester, each begins to lose their bearings not only on the true nature of their relationship, but on their own identities.
Mackenzie Davis (“Halt and Catch Fire”) and Caitlin FitzGerald (“Masters of Sex”) give brave and raw performances as Beth and Anna, two women whose ideas of success are dictated as much by external cultural criterion as their own sense of self-worth. Beautifully photographed and assuredly directed by Takal, Always Shine wraps itself in an evocative shroud of dread and paranoia that lingers long after the final frame.
A young Barack Obama, known to his friends as “Barry,” arrives in New York City in the fall of 1981 to begin his junior year at Columbia University. In a crime-ridden and racially charged environment, Barry finds himself pulled between various social spheres and struggles to maintain a series of increasingly strained relationships with his Kansas-born mother, his estranged Kenyan father, and his classmates.Barry is the story of a young man grappling with those same issues that his country, and arguably the world, are still coming to terms with 35 years later.