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Release year 2019
1 hour 25Minutes
Genres Crime

USA
directed by Matthew Pope
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Blood on Her namen. @2:33 FUCKING BROOTAL CUNTS. BUT i'm just saying if they changed the premise of this book to be a kissy kissy romance movie i'm going to be mad. Blood on her name review. IS THIS the Sky is Everywhere. Blood on her name rotten tomatoes. 新曲まだかまだかと待ってました！ 最高だわ！！ライブ行きてぇぇ. February 27, 2020 10:39PM PT A desperate woman’s good intentions make a bad situation much worse in this tense and twisty Southern noir thriller. In the opening moments of “ Blood on Her Name, ” an arrestingly twisty and suspenseful Southern noir thriller in the tradition of “One False Move, ” we’re introduced to Leigh, the working-class protagonist played by Bethany Anne Lind, with a jarring close-up that is at once explicit and ambiguous. Her face is battered, her breathing is labored, and she appears to have just gotten the worst of it in a fight. But, then again, maybe not the very worst of it. The bloodied man lying in front of her, we quickly learn, isn’t just unconscious or injured; he is seriously dead. And even before she pauses before completing a 911 call, it’s quite clear that, whatever the reason for the guy’s recent quietus, Leigh views his inconvenient corpse as incriminating evidence. This is the first of several wrong decisions — most, but by no means all, made by Leigh — that propel the fatalistic narrative director Matthew Pope and co-writer Don M. Thompson have devised for “Blood on Her Name, ” a film that remains relentlessly absorbing for all of its compact 83-minute length largely because it places its audience in the position of helpless witnesses to a slow-motion trainwreck. Pope and Thompson shrewdly structure their story so that, right from the start, we’re prompted to have a rooting interest in Leigh, even before we know for certain exactly how culpable she is for — well, for what? A self-defense killing? A crime of passion? A violent conclusion to a criminal co-conspiracy? We learn the truth only gradually, as the filmmakers slowly unveil the motives of Leigh and other characters in the manner of someone slowly, almost tauntingly, peeling an onion. But, again, they persuade us to be instinctively sympathetic toward Leigh, thereby making it all the more nerve-wracking when she tries — belatedly, ill-advisedly — to do the right thing. If it seems like I’m being a tad evasive about plot particulars, well, that’s only because I am. Your enjoyment of “Blood on Her Name” likely will be inversely proportionate to how much you know about it ahead of time. Leigh — played by Lind throughout the movie with exceptionally compelling and emotionally precise skill — owns the none-too-successful small-town garage where the act of violence takes place, and she’s anxious to move the body as quickly as possible, as far away as possible. But she has a change of heart before she dumps it into a nearby lake. Rather, she feels that the dead man’s girlfriend and teenage son are entitled to have some sense of closure, or at least find comfort in the knowledge that the guy didn’t simply abandon them. So she stashes the corpse in a shed at the trailer park where they reside, and leaves behind an anonymous note expressing regret. It’s a decent thing to do, but also a terribly self-incriminating mistake. And to make matters worse, the note isn’t the only thing she leaves behind. As Leigh’s mistakes accumulate, we’re periodically given jigsaw-piece revelations about why she is doing what she’s doing, and how much what she’s done in the past is an impetus. The info comes mostly through her contacts with such vividly defined supporting characters as Ryan (Jared Ivers), her teenage son, whose own violent behavior could make him a prime suspect; Richard (Will Patton), her estranged father, a sheriff who’s willing to bend and break a few laws to protect his daughter; Rey (Jimmy Gonzales), a mechanic who appears to be Leigh’s sole remaining employee at her failing business; and Dani (Elisabeth Rohm), the victim’s girlfriend, who turns out to have more than a little in common with Leigh. The interactions and miscalculations interlock with what feels like the inevitability of unforgiving fate. At the same time, however, you are never not aware that one smart move could possibly forestall disaster. Everything leads inexorably to a dead-solid-perfect denouement that suggests a perfect moral for this drama about desperate characters driven to extremes: Once you’re well along on the road to perdition, it may not be a good idea to attempt a detour. At several points in “Charlatan, ” the camera looks glossily on as our protagonist holds small bottles of amber liquid to the light, academically scrutinizing their contents as they beam a light golden glow onto his features: an effect both ennobling and almost romantic. The man is Jan Mikolášek, a famous Czech herbalist and healer with [... ] In response to the coronavirus crisis, the Japanese film industry has begun to delay releases, close theaters and refund ticket purchases. The releases of the new “Doraemon” and “Jimaro” feature animations targeted at kids out of school for the spring break, have been delayed. The former was scheduled to open March 6, the latter on [... ] In the opening moments of “Blood on Her Name, ” an arrestingly twisty and suspenseful Southern noir thriller in the tradition of “One False Move, ” we’re introduced to Leigh, the working-class protagonist played by Bethany Anne Lind, with a jarring close-up that is at once explicit and ambiguous. Her face is battered, her breathing is labored, [... ] In today’s film news roundup, Liev Schreiber and retired pro footballer Vernon Davis score roles, Jason Blum will speak at his alma mater, Irish drama “Rialto” finds a U. S. distributor and “1917” hits a box office milestone. CASTINGS Liev Schreiber will portray tennis coach Paul Cohen in Warner Bros. ’ “King Richard” opposite Will Smith. Reinaldo [... ] AMC Entertainment has reported mixed fourth-quarter results, which saw revenues rise 2. 4% to $1. 45 billion, despite a 4. 4% drop in U. attendance to 62. 3 million. The exhibitor, owned by Dalian Wanda Group, announced a fourth-quarter loss of $13. 5 million, compared to a year-earlier profit of $170. 6 million, due to $84. 3 million of expense related to [... ] Fans of sitcom “Brooklyn Nine-Nine” are often perplexed when they hear actor Stephanie Beatriz in real life: Unlike the the throaty register Beatriz speaks in as Detective Rosa Diaz on the show — perfectly suited for the deadpan quality she delivers her lines — her actual voice is upbeat and pitched about an octave higher.  [... ] There’s a tradition in movies, as vital as a hypnotic action scene or a swooning love scene, of dialogue so witty and nimble and rapid-fire that it comes at you like something out of a stylized dream. I first encountered that brand of high-velocity verbal jousting in “A Hard Day’s Night, ” and later on in [... ].

This is literally pretty little liars when they are in the bunker. bruh. The kid getting beat up looks so much like the teacher. Why is people saying she can't be Javier's daughter, there are plenty of white hispanics, and her character appears to be Laura Linney's daughter as well, so she can be half hispanic half white, she just resembles her mother more. Asobi asobase brought me here.

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Blood on Her Name full movie putlockers…. 1:28 omg i got a heart attack 😨. Is no one gonna talk about the # Delete ur profile at the end 😂 that got me. Welp that was a good movie lol. Yeah this is my friend Makoto (Bass. Abigail from my soaps! No wonder why she was out for a minute. This is a cheap version of the dollhouse plot from pretty little liars.

 

Blood on Her name search. Blood on her name watch. Crowds like that ruin shows. Good movie guys. Great ending too. No need to pay money LOL. @itachi3645dante. @aekerfeldt Yes i lied... sorry Bud :D. Me watches the trailer. Me classically going at the app store to search countdown. Blood on her name 2019 720p.

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Blood on her name film. My eye candy for today. Blood on Her namen mit. WATCH Blood on Her FULL MOVIE TELUGU movie watch online in english Watch" Online"Myvue #WatchOnlineVideostripe. Blood on her name 2019 trailer. 'Winter's Bone' feel. I have lyrics. Blood on Her Name is a new tightly focused, character-driven thriller that follows a woman’s frantic decisions in the wake of a murder. It’s a remarkable film in both its performances and writing, and I had the opportunity to briefly speak with the creative duo behind it, writer and director Matthew Pope and writer and producer Don Thompson. Matthew, you’re based in Atlanta, Georgia and Blood on Her Name was filmed there. That area has seen such a boom in film and television production over the past decade. What’s working in the industry down there been like for you? Matthew: I wouldn’t call myself the expert in that regard. I find myself just trying to keep my head down and do my work. It’s no question the tax credit and everything that comes with that has been hugely effective in bringing productions to the state. Those were helpful in getting this film off the ground. We’d like to see the next phase be encouraging and stimulating smaller, independent films. Don: Georgia is a great state to shoot a film in. We were able to pick up a good crew of very talented people. It’s really nice to see that industry being built there. We were a tax credit film and this film would’ve been very different without it. This is the debut feature of Rising Creek Films, the company that you two run together. What about Blood on Her Name made you two choose it for your first outing with this company? Don: One of the things we loved about this film is the simplicity of it, which was attractive from a creative front. When we were putting this together we had just left a festival that was film after film; 250 minute masterpiece after 250 minute masterpiece. We thought: “This is great, but what I wouldn’t give to just see a quick punch in the gut. ” So we started thinking like that and putting it together. When you’re first out of the gate you don’t have a lot of resources to draw on, but the film started making sense, we started finding some people who liked the story and wanted to back us so this became the one. When you’re working as a creative duo and putting these stories together, how do you two balance each other out? Matthew: A lot of verbal altercations. Physical violence at times. [Laughs] Don was in Atlanta for a couple of years as we were putting this together. We actually started by putting a handful of scripts together, so we had an extended period not doing much other than writing. We’d worked together before a number of times on smaller projects and we definitely knew enough to believe that we could be productive writing together, but it was nice to be able to have an extended and dedicated period of time to sort of work through all of that. I think all of the challenges that come along with trying to co-write on something forces you to make sure that you’re telling a story that you can both see and that makes sense and appeals to both of you. In the early stages we pretty much just tossed ideas back and forth and hammered out structure and beats and character arcs. Then when it comes to writing we largely split it up, take a chunk of scenes at a time, and just go back and forth writing and rewriting. It’s a pretty collaborative process. We’re never sitting at the computer with one person typing as the other person’s dictating words. Don: We’re pretty contrarian by nature. I love story structure. I live for it. The more I talk about story structure, the more he wants to add the emotional elements. That collaboration is what really turned this film into what it is. This film has such a tight script and is very driven by dialogue, which is something that I often feel is one of the more difficult things to write. Is dialogue something that comes easy for you two or is it a struggle? Matthew: I wouldn’t say it’s a struggle. We were working from a set of characters that have a certain kind of sentiment and worldview to them. Everything that happens, happens for a reason and happens quickly. There’s a terseness to it that we wanted to come through. We were certainly looking to make sure that all of the dialogue was necessary and important. Because there are a lot of layers that gradually unfold in the narrative it became that much more important that the characters were saying only what needed to be said. Beyond that, I don’t know that there is anything specifically interesting about our process on the dialogue. It went through the same phases as the rest of the writing. The only addition there would be my Southern filter coming into play a bit more. Don had spent time in the South and wasn’t unfamiliar with colloquialisms and other things relevant to the dialogue, but I took on maybe a slightly larger role to try and make sure that it felt authentically Southern. If you’re from the South, you know what it’s like to watch films or TV shows where supposedly Southern characters sound incredibly out of place. Don: I think the fun part for me was wringing out every extra word of dialogue. We’d gone through the script three or four times on plot points and everything, but our final task was quite literally picking at words and seeing if somebody had been redundant about something. Basically putting everything to the test of “Do I need that? Should that be there? ”. Some people find it too spare, some people would like it to be a bit more verbose, but it’s in line with our taste. I love it when people don’t chatter on. The setting feels just as important of an aspect of this film as anything else. It encompasses life in those rural parts of the South and how violence is sort of embedded into the culture there, whether it’s for sport, self-defense, or something more negative. Was that always intentionally woven into the story? Matthew: I would say in some ways yes. I don’t think we were setting out to make a story specifically about violence. I always want to be very careful to not paint with too broad of a brush. This is a story about a certain group of characters that you could make a completely different story and have a completely different outlook on the world for all of them even when they only live a block away from each other because there’s such a broad range of people, not only in the South but anywhere. With that said, we were very much playing in the stream of existing genre elements with some of that. Southern Gothic feels very at home and ideas of guilt, sin, redemption, violence, and repentance come into play. There is certainly more of a comfort and a general familiarity with guns and that sort of thing but not necessarily just from the South but in more rural areas. It’s just a part of life, it’s not exotic or unusual or strange. A good chunk of this film hinges on Bethany Anne Lind’s performance. She’s really fantastic in this. Is that something that happened once she came onboard or was it always in the plan to have so much of the story be told just through her performance? Don: Bethany was a part of this story from the time we conceived it. We’ve known her for years, we’d worked with her on a handful of things, so we had a very good idea of how capable she was when it came to pulling something like this off. So we took chances in the script that we would have never written blind – if we didn’t know somebody that was going to be able to pull it off. The film was crafted around Bethany and we were making choices based on her capability from the earliest moments. Matthew: It was always going to be the kind of story that followed the lead character pretty exclusively, just by its nature. I was particularly terrified just with the idea of trying to bank an entire movie’s success on an actor that I didn’t know we could completely count on. So pretty early on we identified Bethany as the person that we wanted for the role. We took her a treatment and said “read this, if you’re not into it, let us know because we might have to change plans”. [Laughs] Fortunately she dug it and from that point when we knew that she would bring her talent to the role, it gave us a freedom and flexibility to try some things and depend on her to carry some moments that, if we were casting from an unproven pool of indie actors and just hoping for the best, it may have been a much higher risk scenario for us. Don: On scripts of this size you tend to have just a little bit of a tendency to want to actor-proof something, and you can do that a lot by leaning really heavily on plot devices and external events. We were able to completely shy away from any of that. We didn’t try to actor-proof anything. We knew that moments were going to completely hinge on Bethany pulling those moments off and just putting it out there. I think largely it’s worked. There’s plenty that we look at in our jobs and think “I might’ve changed this or that”. It’s just sort of what you do as a creator; you’re never quite done. But with Bethany, I don’t think we’ve ever looked at it and thought “I’d change that”. She’s just fantastic. Matthew: If you print that though, she may get too angry about it. So definitely don’t print any of the positive stuff about Bethany. When she gets really angry and starts yelling at you, it’s bad news. [Laughs] Don: She’s gonna be a diva on the next one. [Laughs] Matthew: We were very fortunate to get her before her diva stage. Blood on Her Name opens in select theaters and will be available on demand on February 28th. Some of the coverage you find on Cultured Vultures may contain affiliate links, which may provide us with small commissions based on purchases made from visiting our site.

Este site usa cookies para oferecer a melhor experiência possível. Ao navegar em nosso site, você concorda com o uso de cookies. Se você precisar de mais informações e / ou não quiser que os cookies sejam colocados ao usar o site, visite a página da Política de Privacidade. 1:18 Is that Hunter. Blood on her name showtimes. 👏👏👏👏😂😂😂😂😂. | Odie Henderson February 28, 2020 Noir is full of characters doing unreasonable, unwise or just downright stupid things to achieve some untenable goal. Their choices are criminal, driven by the basest instincts and are often wrapped in a delightful, hardboiled amorality. The plot situations escalate, tightening the screws as the antiheroes become more and more desperate. These people inhabit a bitter little world where there are no happy endings. Everybody has a fatal flaw and doing the right thing never crosses anyone’s mind. The self-described “Southern Gothic neo-noir” “Blood on Her Name” attempts to tweak some of the aforementioned qualities of noir by saddling its protagonist with a conscience. It’s a bad decision that might have worked had co-writer and director Matthew Pope structured the film differently. What starts out as an intriguing cover-up of a murder becomes more and more hopelessly convoluted by the film’s insistence on delivering its information to you in drips and drabs. Allowing the viewer to piece things together on their own is always welcome, but the film’s desire to surprise and outwit makes it contrived. Advertisement Leigh ( Bethany Anne Lind) is beholden to doing right by folks, whether it’s her juvenile delinquent son, Ryan ( Jared Ivers) or the family of a man whose murder she may have committed in self-defense. Not that she’s a saint—at times, she lashes out unfairly in anger and she’s on some kind of pills whose dose, according to her dealer, depends on how much she wants to forget. She’s also the ex of a convicted felon whose arrest had something to do with turning her place of business into a chop shop. Those illegal activities come back to haunt her immediately after fade-in. Aided by the moody and atmospheric color cinematography by Matthew Rogers, “Blood on Her Name” opens with a riveting post-murder sequence. The victim lays in a huge puddle of congealed blood on the floor of an auto garage, a bloodied wrench near his body. We hear Leigh’s terrified, labored breathing on the soundtrack before we see her huddled in a corner. The pacing is very good here, allowing us to watch as Leigh considers the best course of action. She wraps the body, cleans up the crime scene, takes the weapon of choice and hauls ass out of there. She disposes of the wrench in the lake as she paddles across it in a boat, but takes the body with her. It’s clear that Leigh is no master criminal, but she makes mistakes that would get you an F in Committing Crime 101. For starters, her auto body shop has a security camera and has recorded the entire murder. She tosses the CPU into the dumpster without even bothering to erase it. I can buy that part, I mean, this is a small town and it’s doubtful anyone would go dumpster diving for tech products. What she does next I most certainly did not buy. She disposes of the body in the house of the man’s relatives, leaving an anonymous note in their mailbox that basically says “My bad! Sorr-reee! ” “They deserved to know, ” she tells her estranged father, Officer Richard Tiller ( Will Patton). Otherwise, it would have weighed on her conscience. “Blood on Her Name” tries to justify this by presenting several flashbacks featuring a young Leigh ( Chandler Head) and Tiller. Seems her dad’s a corrupt cop, placing him firmly in the trenches of noir. Sometimes Leigh talks to her younger self, other times she walks into these flashbacks and observes. It’s a clunky device but these scenes are well shot and edited. Officer Tiller murdered a suspect in cold blood, then apparently disposed of the body. I assume that Leigh’s childhood concern that the victim’s family were left with no clue of his whereabouts contributed to her decision to hand deliver his corpse. But noiristas like me gotta wonder: If your Dad’s corrupt, on the police force, and is adept at making bodies disappear, wouldn’t you call him if you were in the most dire of straits? He seems to be the only cop in town, too. We’re led to believe that her resistance stems from not wanting to figuratively sell her soul to the Devil, but considering her situation, Satan already has her soul on layaway. One of the smarter things “Blood on Her Name” does is not re-stage the murder for us. All we see is the aftermath; the details are eventually filled in using dialogue. Of course, it turns out that this is a more complicated crime than we were first led to believe, and Pope and his co-writer Don M. Thompson add a protective, maternal dynamic to the proceedings that only works during the film’s climactic showdown between Leigh and Dani ( Elisabeth Röhm), the wife of the slain man. Röhm and Lind are excellent in their scenes together, all of which stem from a missing piece of jewelry plot device lifted straight from Hitchcock’s “ Frenzy. ” Of the male characters, Tiller is the only one who feels like he came with the neo-noir territory. Patton plays him with an unnerving menace mixed with crime-ridden common sense. Jimmy Gonzales is wasted as the clichéd minority whose sole existence is devoted to helping out the White lead, though at least he doesn’t get that character’s usual destiny and he has some chemistry with Ivers. “Blood on Her Name” is really onto something with Dani and Leigh’s Mama Bears protecting their cubs subplot, but by the time Leigh realizes she’s truly a chip off her Papa’s old block, too much frustration with her character had set in for me. Shakespeare said “conscience does make cowards of us all. ” Here it just makes you a lousy crook. Reveal Comments comments powered by.

Blood on Her name change. Crystal Lake Brought me here. This is like the story of Mr. Nobody. that I really love... so excited to watch this. Cant believe theres actually a real app💀. I remember reading this book years ago and loving it cant wait to watch this. In the opening scene of the low-boil crime thriller “Blood on Her Name, ” a woman named Leigh Tiller (Bethany Anne Lind) is standing in a pool of blood in a darkened auto garage, with a corpse at her feet. For the next 80 minutes, director Matthew Pope (who also cowrote and coproduced the film with Don M. Thompson) follows Leigh closely as she thinks her way through this big problem. Lind gives an excellent performance as Leigh, who’s instantly sympathetic even when the audience doesn’t know anything about her. Gradually, we meet her son, a teenager who’s already on criminal probation; and we meet her dad, Richard ( Will Patton), who introduced her to a life of violence. We learn about her imprisoned ex-husband, and her opioid habit. These details gradually change the meaning of the movie’s startling opening image. But to Pope and Thompson’s credit, they don’t let the slow drip of Leigh’s backstory distract much from the plot’s tense, procedural quality. This film is primarily a series of fascinating “So now what? ” moments. What will Leigh do with this corpse? What will she say to the dead man’s girlfriend? And so on. “Blood on Her Name” runs out of juicy “So now what’s” by its final stretch. But Lind is terrific throughout; and it’s a welcome change of pace to see a story about lawbreakers where no one involved is any kind of psychopath or super-crook. They’re all just plain folks, leading ordinary lives … and making terrible mistakes. 'Blood on Her Name' Not rated Running time: 1 hour, 23 minutes. Playing: Starts Feb. 28 at Laemmle Monica Film Center, Santa Monica; also on VOD.

Sounds a lot like that book, where the girls are kidnapped and the dood names the girls after flowers. 1:33 Mosh dance <3.

 

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