What I'm wondering is how the deaths will look like in 'Hotel'...
In Murder House the people who were nearby the house ended up as ghosts in there.
In Asylum the Angel of Death shared a kiss with them.
In Coven everyone was going through a personal hell.
In Freak Show they followed Edward Mordrake.
Not to mention Sky has upcoming films in which she costars with Kevin Spacey, Evan Peters, Nicholas Cage, etc. She also has a role in The Green Inferno by Eli Roth. Queen could def do AHS.
Rosenfield and Farmiga are equally adroit at conveying a deep, intimate connection with their characters and suggesting the process through which it has started to come apart at the seams. Both actors should now qualify for any projects involving extreme heartbreak currently looking for credible leads."
Oliver Harwood's editing lingers just long enough to catch some of Taissa Farmiga's most chilling facial expressions. Farmiga's performance has many good qualities, but it's even more notable for what it lacks – namely, artifice. She never overplays Krystal's trauma. Instead, she understands that, like many a high school girl, Krystal is trying to hide it – even if the hiding only makes it shine through with terrible transparency.
All this talk makes me wanna watch Coven again, like I don't remember anything in it and I don't think I was focusing on the show so I didn't understand the plot correctly, same with Asylum I remember the first 6 episodes great because they slayed but the rest was off because I didn't like it that much.
He praised the performances, particularly Emma Roberts', who he said "is the standout, heartbreaking as she suggests longings and anxieties without over-hyping it. Much like the film itself.
Looks like Emma can play the depressed high school girl just as well as Taissa!
Coppola has inherited some of her aunt’s eye for cool composition. She loves to pose Roberts against repetitive, bland, pastel-colored surfaces: a locker room, a row of toilet cubicles, the prefab blockish architecture of her school, the aquamarine of a swimming pool (still the backdrop du jour for disaffected youth, along with fish tanks, 40 years after The Graduate), until Roberts’ pale, luminous beauty pops. She could easily be one of the suburban sphinxes from The Virgin Suicides, but for the vividness of her reactions. Hurt when Teddy absconds for a blow job with someone else, April retreats to her room to practice imaginary brush-offs – “I don’t care ... Whatever ...” She’s more easily bruised than she lets on.
Roberts is the standout. Away from her, the film drifts and drags....
They were HORRIBLE. Taissa would approve.
