Watch top movies free online now? The tony Pennsylvania prep school in which Tayarisha Poe’s nimble debut takes place might bring to mind mean-rich-kid chronicles like Cruel Intentions — but it has more in common with Rian Johnson’s 2005 baby-faced neo-noir Brick. Selah and the Spades is a teen drama in which the line between social clique and mob family feels incidental, taking place in a boarding-school bubble that’s enthralling and insular, privilege serving as a kind of leveling agent that makes day-to-day skirmishes for dominance the only thing that matters. And at the still center of this surprisingly tumultuous world is Selah (Lovie Simone), a character whose desire for a successor wars with her instinct to destroy anyone who challenges her place — even when it’s someone of her own choosing. It’s a compelling portrait of someone who, having made herself the queen of this limited kingdom, finds herself terrified of life when she leaves.
For a certain type of moviegoer, any film where Nicolas Cage says the word “alpacas” multiple times is worth seeking out. Luckily, Color Out of Space, a psychedelic adaptation of H.P. Lovecraft’s short story from 1927, offers more than just furry animals and unhinged Cage theatrics. Mixing hints of science-fiction intrigue and bursts horror movie excess, along with a couple splashes of stoner-friendly comedy, Richard Stanley’s proudly weird B-movie vibrates on its own peculiar frequency. Cage’s Nathan, a chatty farmer with a loving wife (Joely Richardson) and a pair of mildly rebellious kids, must contend with a meteoroid that crashes in his front yard, shooting purple light all over his property and infecting the local water supply. Is it some space invader? A demonic spirit? A biological force indiscriminately wreaking havoc on the fabric of reality itself? The squishy unknowability of the evil is precisely the point, and Stanley melds Evil Dead-like gore showdowns with Pink Floyd laser light freak-outs to thrilling effect, achieving a moving and disquieting type of genre alchemy that should appeal to fans of Cage’s out-there turn in the similarly odd hybrid Mandy. Again, you’ll know if this is in your wheelhouse or not.
No matter that her characters are plagued by malevolent supernatural forces, Natalie Erika James’ directorial debut is a thriller with grimly realistic business on its mind. Called back to their rural Australian childhood home after matriarch Edna (Roby Nevin) goes temporarily missing, Kay (Emily Mortimer) and daughter Sam (Bella Heathcote) discover that the past refuses to remain dormant. The specter of death is everywhere in this rustic residence, whose cluttered boxes and myriad artifacts are reflections of its owner’s mind, and whose creepy wall rot is echoed on Edna’s aged body. Edna’s vacant stares and strange behavior are the catalyst for a story that derives considerable suspense from unnerving set pieces and, more pointed still, the question of whether everything taking place is the result of unholy entities or the elderly woman’s physical and mental deterioration. That balance is key to Relic’s terror as well as its heart, both of which peak during a claustrophobic finale set inside a literal and figurative maze, and a coda that suggests that there’s nothing scarier, or kinder, than sticking with loved ones until the end. Read even more information at 123movies.
If you’re looking for a UWP media player app for Windows 10 that’s clean looking, it’s time to stop your search becauase ACG Player could be your final choice. It’s a lightweight media player that has all the essential features like audio and video effects, music visualizer, art font subtitle, gesture control, background music. etc. ACG Player supports most media codecs out-of-the-box and follows no-nonsense policy. It also supports playback from external devices, files, and discs. An even more lightweight version of ACG Player is available in the form of Ax-Lite, which is its faster version without some features. Do give it a try for its clean and zippy interface.
Bio-terror comes in corrupting forms in The Beach House, whose contagion-based scares speak, subtly if severely, to our present moment. On a Cape Cod getaway, aspiring astrobiologist Emily (liana Liberato) and her going-nowhere boyfriend Randall (Noah Le Gros) wind up sharing accommodations with fiftysomething couple Jane (Maryann Nagel) and Mitch (Jake Weber), friends of Randall’s dad. Drinks and hallucinogenic edibles help alleviate the initial awkwardness of this get-together, but the good times are fleeting, thanks to a strange mist emanating from the dark, furious depths of the ocean, which contaminates the area with glowing Lovecraftian foliage and giant, slimy organisms. The normal order is quickly turned on its axis—quite literally, in one unforgettable shot—as alien forces infest, infect and annihilate. Aided by Liberato’s accomplished performance, first-time writer/director Jeffrey A. Brown stages his mayhem with assured efficiency, creating an air of impenetrable mystery through uneasy silence, compositions that devolve into cascading bubbles and a squishy foot-surgery sequence that would make body-horror maestro David Cronenberg proud. Discover even more information on here.