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genre: Drama; Release year: 2019; 28 vote; Matthew Pope; Duration: 85minute; Country: USA. Blood on Her Name free mobile. Blood on Her Name free web site. Blood on her name free game. Yeeeeeeeees. Misrepresentation of how she was actually treated. Scientists, of any gender, were expected to defend their positions and findings. The more radical their claims the harsher the questions. Portraying French scientific society as foolish misogynists is unforgivable. History as Victim is getting tiresome. Just stop it. 'Ehrlich's Magic Bullet' is the right approach. Sure, he was Jewish, but it was incidental to the main story rather than being the story. And it helped to have Edward G. Robinson as the lead rather than a moon-faced yet expressionless Gone Girl.
Blood on her name free full. Blood on her name freezer. Blood on her name free shipping. Blood on her name free streaming. Ah yes another book that romanticizes teen mental illness being adapted. Fantastic. Blood on her name free images. Blood on Her Name free online. 0:56 who put a splash potion of levitation in her like come on. Blood on her name free lyrics. Moral of the story never fall in love with a guy named joe. Posted on Friday, February 21st, 2020 by Matthew Pope ’s Blood On Her Name is a blue-collar revenge thriller with one helluva hard nose compared to other glamorized action spectacles where consequences don’t matter. It’s homestyle, nasty survival storytelling rooted with family at its core and despair weighing heavy on the viewer’s chest. Jeremy Saulnier comparisons are apt, even if the brutality isn’t as gruesome. I was lucky enough to catch the film at last year’s Fantasia International Film Festival where Pope’s title played to much acclaim, including my full review that praises everything from the film’s unwashable grime to Bethany Anne Lind ’s pain-stricken performance. Today on /Film, we have an exclusive clip that gives you a taste of the kind of cyclical backwoods gut-punchery that awaits Lind’s independent mother. Read More » Let us round up some trailers, shall we? Rather than give these titles their own individual posts, we decided to wrangle them together in one spot. Why? Because they were lonely, and everyone needs a friend. That’s why. Below you’ll see trailers for a Beastie Boys documentary, the indie curiosity Swallow, a new Ghost in the Shell anime, yet another SpongeBob film, and a thriller called Blood on Her Name. Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: What better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? This week we take a tax-free look at Jeff Bezos, wonder what to do with a dead body, reflect on the 2016 election, reflect on all of our poor decisions in life, and hope for a better life in America. Matthew Pope ’s Blood On Her Name ranks among Americana thrillers such as Blue Ruin, I Don’t Belong In This World Anymore, Small Crimes, and other tobacco-stained justice flicks. A modest look into how one decision can change your life forever; sins paid in flesh and blood. Characters all blend into a complicated existence between sympathy and wrongdoing, as Pope holds complication over easily definable boundaries between “good” and “evil. ” In a time when online mob justice demands black-and-white rulings on human affairs, Blood On Her Name reminds us of the sprawling grey area that defines our experience. Tension strung tight enough to slice through a crowd like the opening scene in Ghost Ship. Read More ».
There’s an entire sub-genre of slow-burn thrillers centered on everyday people forced by circumstance into a life and death world previously unknown to them. More specifically, the films are about a “good” person” who makes a choice — out of anger, greed, foolishness — that sets in motion a bloody chain of events requiring actions and reactions well beyond their wheelhouse. Two of the best in recent years are Blue Ruin (2013) and Bad Day for the Cut (2017), but in addition to being tales fueled by vengeance they’re also ones about men. Director/co-writer Matthew Pope ‘s feature debut, Blood On Her Name, goes counter to both as it focuses instead on a woman simply struggling to do right by her family, but as a tension-filled and devastating look at the inevitability of consequence it absolutely belongs in the same conversation. Leigh ( Bethany Anne Lind) stands over a dead body in the garage she owns. Blood pools from the dead man’s head, and while she comes close to calling the police, her fingers hesitate over the phone. Her teenage son Ryan ( Jared Ivers) sits afraid and shaken in another room, and with worries about him, painful memories about her own father ( Will Patton), and the fate of her already struggling business swirling in her head, she decides instead to dispose of the body. It’s a decision born from desperation, and it’s one complicated by her own morality — the dead man has a family of his own, and not wanting to leave them trapped in a purgatory of not knowing what happened to him, she instead returns the body to their shed for them to find. No good deed, as they say. Blood On Her Name wisely drops viewers right at the moment of emotional conflict — the dead man, and the choice that will haunt what follows. Leigh’s problems began far earlier, though, and the film slowly teases those origins out across its running time revealing her to be a character more informed by her past than defined by it. Some of her issues come as a package deal with being a woman and a daughter, but while they try to pull her backward it’s her ferocity and determination as a mother that keeps her fighting forward. Pope’s script (co-written by Don M. Thompson) accomplishes this dynamic best through conversations between friends, family, and strangers, but it stumbles slightly with a handful of flashbacks that struggle to fit the film’s otherwise starkly pragmatic tone. We’re grounded in Leigh’s reality, a world smeared equally in blood, tears, and grease, and lucid dreams/memories that see her alongside her younger self feel too far removed. They’re a minor distraction, though, as they’re both infrequent and overshadowed by the rich character interactions revealing far more effectively the weight of family and history. Leigh’s relationship with her father is especially telling as the source of much of her trouble, but the film wisely refuses to lay it all at his feet. It isn’t pointing fingers, and while Leigh is tempted to she’s instead compelled to accept her own role in this current predicament. As with 2008’s Frozen River, this isn’t a film about a female victim as it’s instead the story of a complex woman weighed down by choice and consequence. Decisions made by the men in her life have undoubtedly helped shape her, but it’s her own that carry the ultimate weight. Both the script and Pope’s direction avoid flashiness preferring instead to let tensions and anticipation simmer on their way to outbursts both verbal and violent. Dialogue is economical at times, and while the necessary details come through, the bulk of their power comes packed in exchanges between Leigh and her father. Lind and Patton both give achingly controlled performances here as a daughter and father marked as deeply by their shared trauma as by their individual sins, and while dialogue provides the details it’s their faces that tell the story. Patton’s no stranger to intense characters, and it’s once again a factor here as his attempt towards mending past transgressions only serves to ratchet things up further. Similarly, Lind plays Leigh as a woman brought her through forces beyond her control — but trapped here through actions of her own. The title is as applicable to her family name as it is to given one, and as she cycles through anger, resentment, guilt, and love, Lind’s portrayal reveals a woman hellbent on salvaging the scraps of her life and a future that she may not even be a part of. Guilt, PTSD, and a desperate desire to avoid a cycle of violence make for a powerful combination, and Lind makes her a woman worth caring about instead of one worth pitying. One quick note… Leigh’s choices throughout the film are the kind prone to critical scoffing — “that’s dumb, I’d never do that” — but as with the other films mentioned above they’re the kinds of choices made by real, average people in desperate situations well beyond their wheelhouse. It’s easy to point out “dumb” decisions on the screen from the comfort of our couch, but the only thing that matters is whether we believe these characters would make these choices under these conditions. Leigh’s situation is clear, her options are ugly, and she’s fueled by a single-minded goal. We believe her, and what follows is all the more tragic because of it. Blood On Her Name is a beautifully told tale of family, crime, and the price we sometimes pay for both. Elements here are shared with other, similar films featuring unprepared people in unfamiliar situations, but it stands as part of a very select grouping of movies that focus on a woman’s perspective. It’s ultimately a sad film, one infused with suspense and humanity, but that female perspective carries through to the very last line as an unexpected and haunting expression of guilt and concern.
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Is Bardem playing a Spaniard or a Greek, because the letters on his boat are Greek, and the TABEPNA written on the building is Greek for tavern.
Wow nice party.
Everyone out hear like: loved the book not impressed by the trailer. I didnt like the book but I have hopes for this film.
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Amazingly epic.
Only woman can hold radioactive brick in her pocket.
”U have 1 minute left!” Whate hell shes walking on the street at night
Asiacore. I love it.
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David Dastmalchian was in The Dark Knight, Belko Experiment, Prisoners, Bird Box and Gotham. He is type cast to play unhinged, psychologically unstable, criminally insane characters which he does expertly. I look forward to seeing his talent in more varied performances with characters hopefully outside his usual template.
If you've watched pretty little liars, then this should give you serious nostalgia of the Dollhouse that A trapped the girls and Mona in.
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Nowadays no one knows how to trailer/teaser.
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They have it backwards, she stole her husbands research
This looks good! I am definitely going to watch this.i really enjoy anything will Patton is in.
This looks like a movie i watch when i have nothing to watch 😂.
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