Written and created by Nic Pizzolatto, the acclaimed HBO series True Detective returns after a three-and-a-half-year absence, this season focusing on a new case and featuring an impressive new cast. Mahershala Ali (Best Supporting Actor Oscar® for Moonlight) stars as Wayne Hays, a retired detective who has been tormented for 35 years by a case involving the 1980 disappearance of a 12-year-old boy and his 10-year-old sister in the town of West Finger, Arkansas. As the aging Hays, his memory failing, ruminates on details of his investigation with the producer of a truecrime documentary, we learn about the case, and Hays' past, tracking stories in 1980, when the crime took place, and 1990, when a shocking discovery reignited interest in the case. Through these flashbacks, we get to know key characters like Roland West (Stephen Dorff), Wayne's partner at the time of the murder; Amelia Reardon (Carmen Ejogo), a schoolteacher and writer; as well as county officials, FBI agents, family members and suspects. Each of the eight episodes adds a new piece to the puzzle of what happened on that fateful night in 1980 and how that one event shaped the lives of so many people for so many years.
Written and created by Nic Pizzolatto, the acclaimed HBO series True Detective returns after a three-and-a-half-year absence, this season focusing on a new case and featuring an impressive new cast. Mahershala Ali (Best Supporting Actor Oscar® for Moonlight) stars as Wayne Hays, a retired detective who has been tormented for 35 years by a case involving the 1980 disappearance of a 12-year-old boy and his 10-year-old sister in the town of West Finger, Arkansas. As the aging Hays, his memory failing, ruminates on details of his investigation with the producer of a truecrime documentary, we learn about the case, and Hays' past, tracking stories in 1980, when the crime took place, and 1990, when a shocking discovery reignited interest in the case. Through these flashbacks, we get to know key characters like Roland West (Stephen Dorff), Wayne's partner at the time of the murder; Amelia Reardon (Carmen Ejogo), a schoolteacher and writer; as well as county officials, FBI agents, family members and suspects. Each of the eight episodes adds a new piece to the puzzle of what happened on that fateful night in 1980 and how that one event shaped the lives of so many people for so many years.
Pinhead is stuck inside a block and is determined to free himself. The block is bought by a young man to use as a sculpture. Once Pinhead is free (by means of a series of somewhat gruesome murders) he wants to destroy the block so that he never has to return to Hell. Only one thing stands between him and his goal: a female reporter...
A semi-pretentious urban sleaze film, Shadow Hours offers Balthazar Getty--sporting a "BZAR" knuckle tattoo and a Charlie Sheen look as a recovering drug addict working nights in a Los Angeles filling station to support an angelic pregnant wife (Rebecca Gayheart). Getty is tempted to the wild side by sharp-suited mystery man Peter Weller, who takes him on a tour of nocturnal weirdsville: piercing clubs, bare-knuckle boxing arenas and big-money Russian roulette parlours. Getty comes to suspect that Weller is a perhaps-demonic serial killer who has been turning women's heads (literally) and calls in cop Peter Greene. But he also goes back to dealer Frederic Forrest to get back on drugs and is stuck with get-in-the-way boss Brad Dourif. The film has a good cast and the germ of an interesting idea, but ends up as just another drama about a backsliding rehab guy and nighttime folks. It works hard on being shocking without going all the way into Clive Barker territory, despite advice on extreme underground culture from shock-tactics queen Lydia Lunch and some nasty fishhook facial sculpture. The ending suggests Weller might be a semi-supernatural character, but cops out of dragging Getty all the way down to hell. Weller, who grabs most of the best lines ("I've seen things in this city make Dante's Inferno read like Winnie the Pooh"), is an interesting, ambiguous villain, but everyone else is very standardised. Writer-director Isaac H Eaton clearly has a large collection of David Lynch videos and watched Fight Club several times. On the DVD: Sound is presented in both 2.0 and 5.1, while the widescreen presentation looks a lot better than the full-frame video release. In addition, there's a trailer and a photo gallery montage of arty looking frame blow-ups scored with pounding weird-rock. --Kim Newman
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