Peter Sarsgaard in Wormwood. Netflix
A government cover-up involving LSD, a 13-story fall out a hotel window, secret germ warfare laboratories, a CIA allergist, Rogers and Hammerstein’s biggest Broadway flop and an autopsy on a hematoma-marred corpse buried for 41 years: for six decades, these puzzle pieces have nagged at a tortured son endlessly chasing the elusive truth of his father’s suspicious death. And Errol Morris wants answers.
Spanning 258 minutes over a half-dozen episodes, and debuting on Netflix on December 15, Morris’s epic true crime investigation Wormwood is many things—just don’t call it a documentary. As far as director Morris is concerned, it’s the cinematic equivalent of an Everything Bagel. “I don’t know quite how to describe it either,” he said, when I admit to finding it hard to define.
The Oscar-winning filmmaker, who received his Academy Award for 2003’s riveting single-subject study The Fog of
Read more at: http://observer.com/2017/12/interview-oscar-winner-errol-morris-on-what-wormwood-uncovers-on-netflix/
Brendan Dassey, one of the subjects of Netflix’s Making a Murderer, will remain in prison, following a ruling from the 7th U.S. Circuit Court of Appeals.
With a four to three decision on Friday, the panel of judges ruled that Dassey’s confession about his involvement in the murder of Teresa Halbach was properly obtained by police.
Last year, the 28-year-old’s conviction was overturned when a federal judge ruled the confession had been coerced. Then, in June, a three-judge panel from the 7th U.S. Circuit Court of Appeals stood by the determination, but the state appealed for a full court ruling.
In 2007, Dassey was sentenced to life after being convicted of being party to first-degree murder, mutilation of a corpse, and second-degree sexual assault. His case became national news upon the 2015 premiere of Making a Murderer. The Netflix true crime documentary series focused on Massey’s uncle, Steven Avery, and questioned the guilt of
Read more at: http://ew.com/tv/2017/12/08/making-murderer-brendan-dassey-conviction-upheld/
I had worked with her before, six or seven years ago, on a movie called “The Moth Diaries,” in which she was playing 16 [years old], actually. I’d seen hundreds of people for the role I cast her in, and she actually recorded an audition for me on her computer, because she was filming overseas. As soon as I saw her, I thought, this girl is remarkable. When you meet her, she’s sort of an old soul, a very impressive person. And working with her, she’s very subtle. She does what I really like in actors, she does a lot of layers. She makes adjustments very quickly. Even as a young actress who hadn’t done that many movies, she could make these incredible subtle changes and imply a lot going on below the surface. And also, with Grace, you want someone who is very beautiful, but who has a mystery
Read more at: https://www.huffingtonpost.com/entry/the-making-of-alias-grace-a-margaret-atwood-murder-mystery_us_59fb3367e4b0415a420a1b9e
The rhetorical questions that leave you hanging, thirsting for more.
The creepy slow-motion close ups to random objects, like a coffee cup, that totally makes you convinced they’re significant pieces of evidence.
The tales of childhood from neighbours and descriptions of how the suspect in question was ‘always such a good kid’ and that ‘no one expected they could do something like this’.
If you’re a fan of Netflix’s Making A Murder, Amanda Knox, or the Serial podcast, you’ll be well-aware of these stylistic techniques that keep you on the edge of your seat and questioning every twist and turn of a true crime story, until its inevitable cliff-hanger ending.
A post shared by Making a Murderer (@makingamurderernetflix) on Jan 8, 2016 at 9:54am PST
With that in mind, Netflix appears to have applied its
Read more at: http://www.elleuk.com/life-and-culture/culture/news/a38864/netflix-american-vandal/
It takes a while (at least it did for me), but eventually, you realize that the dicks are not the joke. Are they funny? Sure, but they are not the meat of the show. No, the beauty of American Vandal is the fact that it does not deconstruct shows like Making A Murderer or Serial; it embraces them. This show does not poke fun at the constant dead-ends, left turns, and false narratives that consistently pop up on its more serious counterparts. Instead, it takes those tropes and crafts its own version of them. Yes, the penises are funny, but the emotional impact that this ride has on Dylan and the Oceanside community is the core through line that carries the show. It is as if somebody combined the best elements of Rian Johnson’s Brick and Superbad, and then added a found footage/documentary layer to it. On paper,
Read more at: http://www.cinemablend.com/television/1704250/netflixs-american-vandal-is-a-must-watch-true-crime-parody-of-making-a-murderer-and-others