Oct 20, 2017. 20 October 2017 • 4:04pm. This year, the undisputed, er, king of Stephen King adaptations was Andy Muschietti's IT: a lovingly-crafted slice of Eighties nostalgia with a colourfully menacing villain and a host of showy supernatural scares. Netflix's 1922, an original production for the streaming service from. Oct 20, 2017. 1922 is a terrific example of just how powerful horror movies can be. Not only does writer-director Zak Hilditch employ a gorgeous, psychological slow-burn approach to the storytelling, he punctuates it with sudden bursts of visceral horror. October 21, 2017| Rating: 4/5| Full Review Rohan Naahar. Sep 22, 2017 - 3 min - Uploaded by JoBlo Movie Trailers1922 Official Trailer (2017) Thomas Jane, Stephen King Horror Movie HD SUBSCRIBE for. '1922' review: Stephen King adaptation probes the toll of a single murder in Netflix movie starring Thomas Jane. By Brian Lowry, CNN. Updated 6:44 AM ET, Fri October 20, 2017. As adapted by writer-director Zak Hilditch, '1922' is almost unrelentingly bleak, capturing the remote, dusty nature of the period. 1922 Official Trailer (2017) Thomas Jane, Stephen King Horror Movie HD SUBSCRIBE for more Movie Trailers HERE: PLOT: A simple yet proud rancher in the year 1922 conspires to murder his wife for financial gain, convincing his teenage son to participate. CAST: Thomas Jane, Neal McDonough, Molly Parker Check out our specific genre movie trailers PLAYLISTS: SUPERHERO/COMIC BOOK TRAILERS: ANIMATED TRAILERS: SEXY TRAILERS: HORROR TRAILERS: CELEBRITY INTERVIEWS: JoBlo Movie Trailers covers all the latest movie trailers, TV spots, featurettes as well as exclusive celebrity interviews. Check out our other channels: TV TRAILERS: MOVIE HOTTIES: VIDEOGAME TRAILERS: MOVIE CLIPS: JOBLO VIDEOS. Farm-y of Darkness. By William Bibbiani 1922 debuts exclusively on Netflix on October 20th. If movies have taught us anything it’s that no good murder goes unpunished. It doesn’t matter how clever your scheme is or how righteous you think you are. If you kill somebody, your uppance will come, and it will probably be as ironic as hell. Is Netflix’s second Stephen King adaptation in as many months ( was the other), and it fits tidily into the tried-and-true moral murder mold. It’s a solemn, disturbing drama about farmer Wilfred James, played by Thomas Jane with a voice that sounds like a low gear combine in desperate need of tuning. His wife Arlette (Molly Parker) is getting big ideas about independence. She wants to sell the farm and move to the city, and if Wilf isn’t up for it, she wants to get a divorce, open a dress shop, and take their teenaged son, Henry (Dylan Scmid), with her. But of course, it’s 1922 - the movie, and the year - and Wilf’s pride is only sustained by three fragile prongs: his land, his son and his fantasy of a subservient wife. That’s all he wants, and all he thinks he could hope for. If Arlette wants to take away all three, then Wilf decides that Arlette has got to go, which of course sends him and his son on a path to ruination. Zak Hilditch adapted the screenplay for 1922 and directed it himself. He’s got a strong eye for emotional and physical desolation. The James farm only feels warm in moments when it’s filmed through the filter of shoddy memory. This is an ugly place, heaped with resentments, even before Wilf convinces Henry to help him murder Arlette, dispose of the body, and pretend there are no such things as consequences. Thomas Jane stars in Netflix's adaptation of Stephen King's 1922. It’s almost hard to tell whether Thomas Jane is giving a great performance here, or if he’s just doing a very thick accent. Maybe he’s trying to transform himself but he’s always excelled at blue collar roles, playing masculine types who are tormented by their private sentiments. It’s a good role, he works it well, but we’re so familiar with his work in films like The Mist and The Punisher that it’s distracting to see him experiment with capital-a “Acting”, especially in a role that doesn’t really require him to leave his wheelhouse. The problem with 1922, though, isn’t the performances. It isn’t even the directing. It’s that these types of stories - about murderers who realize that they probably shouldn’t have murdered anybody - aren’t just old hats, they're moth-eaten hats.
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