As Jay, the unassuming teenage protagonist of filmmaker David Robert Mitchell's indie cult sensation, Monroe cemented her place in the horror pantheon playing a young woman pursued by a lethal supernatural entity after contracting a sexually transmitted curse. It's a bizarre premise that initially gave Monroe pause.
"This can't be good," she remembers thinking after reading the script.
And she was right-in a sense. It wasn't just good. It was a commercial and critical smash, grossing $23.2 million worldwide against a $1.3 million budget and earning acclaim as a highly original genre gem. "I don't think any of us expected It Follows to blow up the way it did," Monroe says.
"Never in a million years." Nearly a decade later, Monroe, 31, is again in the limelight as the lead in one of the year's most anticipated horror films, Longlegs, in theaters July 12. With early reviews praising it as "a disturbing descent into hell" and "the scariest film of the decade," the new feature from writerdirector Osgood Perkins (I Am the Pretty Thing That Lives in the House) debuted with a perfect 100% fresh rating on Rotten Tomatoes ahead of its U.S. release-a rare feat for any film, but especially a horror movie.
Diese Geschichte stammt aus der July 15, 2024-Ausgabe von Time.
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Diese Geschichte stammt aus der July 15, 2024-Ausgabe von Time.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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