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In bleak, smalltown Utah, a man threatens to kill his wife, her lover and himself, in a film which neglects to give any point of view but the perpretator’s.
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The rise and fall of the American designer Halston touches so many of the cultural pressure-points of the 70s and 80s it was bound to get miniseries treatment sooner or later. His fashion skills wrested the attention of American consumers away from the European names that dominated the field, to create a brand allure that expanded into perfumes and homeware to make him a household name.
But his self-created stylish image hid contradictions: Roy Halston Frowick was an Iowa country boy who became dressmaker to Hollywoodâs A-list, and a mainstream media figure who covertly enjoyed the eraâs gay sexual freedoms and coke-fuelled excess. With the advent of the 80s he fell off the corporate rollercoaster heâd ridden to fund his success, and, like so many of his generation, succumbed to the first wave of Aids.
John Krasinski’s near-silent horror sequel retains the series’ tension and scares whilst allowing its young stars to grow into monster-killing accomplices.