{"id":20365,"date":"2023-06-27T09:00:00","date_gmt":"2023-06-27T16:00:00","guid":{"rendered":"https:\/\/crookedmarquee.com\/stage8\/?p=20365"},"modified":"2023-06-26T17:34:39","modified_gmt":"2023-06-27T00:34:39","slug":"the-best-movies-to-buy-or-stream-this-week-armageddon-time-cinnamon-the-manchurian-candidate-and-more","status":"publish","type":"post","link":"https:\/\/crookedmarquee.com\/stage8\/the-best-movies-to-buy-or-stream-this-week-armageddon-time-cinnamon-the-manchurian-candidate-and-more\/","title":{"rendered":"The Best Movies to Buy or Stream This Week: <i>Armageddon Time<\/i>, <i>Cinnamon<\/i>, <i>The Manchurian Candidate<\/i>, and More"},"content":{"rendered":"\n<p><em>Every Tuesday, discriminating viewers are confronted with a flurry of choices: new releases on disc and on demand, vintage and original movies on any number of streaming platforms, catalogue titles making a splash on Blu-ray or 4K. This twice-monthly column sifts through all of those choices to pluck out the movies most worth your time, no matter how you\u2019re watching.<\/em><\/p>\n\n\n\n<p><strong>PICK OF THE WEEK:&nbsp;<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/42TBdkE\" target=\"_blank\" rel=\"noopener\"><strong><em>The Manchurian Candidate<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>John Frankenheimer\u2019s Cold War thriller \u2013 both horribly chilling and blackly comic \u2013 has lost none of its blunt force in the fifty-plus years since its original release. Frankenheimer fuses an uncomfortably of-the-moment narrative with matter-of-fact surrealism, creating a nightmarish story of red-baiting and nationalist fear that grippingly captures the dread and paranoia of the period. His compositions are still stunning \u2013 dig the fun-house mirror effects of the frames with the frames of the hearing scene \u2013 and he gets all-time great performances out of his ace cast (particularly Frank Sinatra, whose tough, feverish turn is haunting as hell). It\u2019s a cold, frightening, brilliant film, and KL Studio Classics\u2019 new 4K is a razor-sharp beauty. (Includes audio commentary, outtakes, interviews, and trailer.)<\/p>\n\n\n\n<p><strong>ON AMAZON PRIME:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/www.amazon.com\/gp\/video\/detail\/B0B8TS5Y3X\/ref=atv_dp_share_cu_r\" target=\"_blank\" rel=\"noopener\"><strong><em>Armageddon Time<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>James Gray\u2019s deeply personal coming-of-age drama has the kind of specificity and attentiveness to time and place that are native to autobiography, a desire (an insistence, even) for the details that may not matter to anyone but the author \u2013 but to them, they clearly matter very, very deeply.&nbsp;In telling his circa-1980 story of Queens sixth-grader Paul Graff (Banks Repeta), he\u2019s grappling with issues of race, class, family, religion, and liberal guilt. That\u2019s awfully fertile soil for a thoughtful filmmaker like Gray, and if all of his material doesn\u2019t quite add up, the broad ambition and honorable intentions&nbsp;<a href=\"https:\/\/crookedmarquee.com\/stage8\/review-armageddon-time\/\">go a very long way<\/a>.&nbsp;<\/p>\n\n\n\n<p><strong>ON TUBI:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/tubitv.com\/movies\/100005007\/cinnamon\" target=\"_blank\" rel=\"noopener\"><strong><em>Cinnamon<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>The words \u201cTubi original\u201d don\u2019t exactly inspire hope and confidence in the minds of most streaming movie-watchers, but this crime thriller with a dash of comedy is a marvelous surprise. Some of writer\/director Bryian Keith Montgomery Jr.\u2019s choices are dubious; Damon Wayans is playing this way too broadly, and it just seems like you\u2019re losing a weapon to cast Pam Grier as a mute. But Hailey Kilgore proves herself a no-questions-asked movie star in the title role, Jeremie Harris is absolutely terrifying, and the plot turns are solid. It\u2019s a taut, twisty, crisply executed crime thriller with a welcome nasty streak.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Cinnamon on Tubi | Official Trailer\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/VZURYBlvdFc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>ON MUBI:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/mubi.com\/films\/crimes-of-the-future-2022\" target=\"_blank\" rel=\"noopener\"><strong><em>Crimes of the Future<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>David Cronenberg\u2019s return to the big screen, eight long years after&nbsp;<em>Maps to the Stars<\/em>,&nbsp;feels like something of a victory lap; he\u2019s recycling the title of one of his earliest films and returning to the themes and visual motifs that made his name. And y\u2019know what, GOOD FOR HIM, he\u2019s earned it. The bulk of the running time here is spent on a slow boil, as he slathers the frame with mood and dread and nightmare imagery, but he never seems to reach for effects or try to shock. Viggo Mortensen remains the platonic ideal of a Cronenberg lead and&nbsp;L\u00e9a Seydoux&nbsp;does&nbsp;<em>Crash<\/em>-style creepy sensuality like it\u2019s second nature, but the standout is&nbsp;Kristen Stewart, whose mannered, weirdo turn as a creepy little bureaucrat is unforgettable. (<a href=\"https:\/\/www.hulu.com\/movie\/crimes-of-the-future-ad499c6b-8223-4caa-b533-8ad173a9fcea?entity_id=ad499c6b-8223-4caa-b533-8ad173a9fcea\" target=\"_blank\" rel=\"noopener\"><em>Also streaming on Hulu<\/em><\/a>.)<\/p>\n\n\n\n<p><strong>ON METROGRAPH AT HOME:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/metrograph.com\/at-home-movie\/?at_home_movie_id=646cd6c28df5e8a94200831e\" target=\"_blank\" rel=\"noopener\"><strong><em>The Task<\/em><\/strong><\/a><strong><em>:<\/em><\/strong><strong> <\/strong>Leigh Ledare\u2019s provocative documentary is something of a puzzle &#8211; &nbsp;it puts us in the middle of its central scenario without any particular explanation, parachuting in to an event in progress. A group of \u201cparticipants\u201d and counselors, a cross-section of races, genders, classes and nationalities, are involved in something like an intensive group therapy session, though the aim is unclear; the most we get are vague platitudes like \u201cThe task is to examine your actions in the here and now.\u201d But the specifics don\u2019t matter. They\u2019re hashing out common experiences, prejudices, and reactions , working through elemental conflicts within the American experience at this specific moment in our culture. This series of escalations, conflicts, breakdowns, escapes can make for an uncomfortable experience \u2013 but a riveting one, as these people say things aloud that are often left unsaid, while seeming to suppress even more upsetting observations.<\/p>\n\n\n\n<p><strong>ON 4K:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/44jTs3P\" target=\"_blank\" rel=\"noopener\"><strong><em>Time Bandits<\/em><\/strong><\/a><strong>: <\/strong>Terry Gilliam\u2019s first big directorial hit has been a Criterion mainstay, released on laserdisc, then DVD, then Blu-ray, and now a glorious 4K. And it\u2019s not hard to share their enthusiasm for this high-spirited romp, in which a lonely little boy befriends a band of time-trotting thieves and takes an appropriately absurd jaunt through history. There\u2019s a wild, wonderfully improvisational spirit to their journey, which includes visits with Ian Holm\u2019s hilariously emo Napoleon, Sean Connery\u2019s good-natured Agamemnon (just listen to the way he says, incredulously, the name \u201cKevin?\u201d), and an uproariously smug John Cleese as Robin Hood. The latter segment feels like the germ of a Monty Python movie that never happened (Michael Palin, who co-wrote the script, also appears), yet it\u2019s very much a hinge movie, embedded with that Python sensibility but splashed with Gilliam\u2019s signature style, all jaunty angles, foggy wisps, mechanized futures, hand-crafted props, and stunning images; the giant cages suspended above a void of nothingness have stuck with me ever since my initial childhood viewings of the film, back in its HBO-heavy-rotation days. It\u2019s all wildly imaginative and gleefully, delightfully juvenile. (Includes audio commentary, featurette, new and archival interviews, and trailer.)&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Time Bandits (1981) - Original Trailer\" width=\"760\" height=\"570\" src=\"https:\/\/www.youtube.com\/embed\/h27sUJtngq4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/44dYgHU\" target=\"_blank\" rel=\"noopener\"><strong><em>The Rules of the Game<\/em><\/strong><\/a><strong>: <\/strong>This \u201cdramatic fantasy\u201d from the great French director Jean Renoir is another Criterion multi-format fave, one of those pictures that the fresh viewer approaches with the weight of Canonical Great Film on its shoulders\u2014and it lives up to the promise. It\u2019s a story of lives of leisure and privilege (all of them nicely textured, awful and\/or sympathetic in their own unique ways) and the poor souls who must serve them, which collide impressively during a hunting weekend on a country estate. Renoir takes them down not by sneering, but by letting them be themselves, and observing their descent into drunken chaos as petty jealousies, simmering resentments, and plain old bloodlust boil over. It\u2019s an incredible highwire act of sparkling wit and brutal insight. (Includes introduction, audio commentary, alternate ending, archival documentaries, and new and archival interviews.)<\/p>\n\n\n\n<p><a href=\"https:\/\/www.kinolorber.com\/product\/ronin-4kuhd\" target=\"_blank\" rel=\"noopener\"><strong><em>Ronin<\/em><\/strong><\/a><strong>: <\/strong>Frankenheimer again, as KL presents a nice 4K career-bookend duo, pairing the early <em>Manchurian <\/em>with this late-period action\/heist picture. It\u2019s mostly remembered for its killer car chases, and rightfully so \u2013 they\u2019re white-knuckle set pieces, practically executed with real drivers, real cars, and real danger. But as the years pass, the moments between those action beats are what stick, thanks to the crackling dialogue of scripters J.D. Zeik and David Mamet (writing under the pseudonym Richard Weisz) and its smooth delivery by an A+ international cast, led by Robert De Niro in prime, <em>Heat<\/em>-style criminal\/consummate professional mode. The 4K upgrade is stellar, the extras are voluminous, and the whole thing just plain holds up; it\u2019s the kind of no-nonsense B-movie that was sort of taken for granted in its time, but is increasingly rare (and missed) these days. (Includes audio commentary, interviews, featurettes, alternate ending, and theatrical trailer.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/445rCJ6\" target=\"_blank\" rel=\"noopener\"><strong><em>Creepshow<\/em><\/strong><\/a><strong><em>:<\/em><\/strong><em> <\/em>Screenwriter (and, hilariously, eventual co-star) Stephen King and director George A. Romero teamed up for this affectionate tribute to the EC horror comics of their youth, and using the briefly in-vogue anthology film structure (there are five total stories, plus a prologue and epilogue). They get gloriously game performances from the likes of Hal Holbrook, E.G. Marshall, Leslie Nielsen, Adrienne Barbeau, and Ted Danson, and the filmmakers get the look, feel, and most importantly tone of these things just right. It\u2019s all executed with grisly wit and giddy malevolence, the work of a couple of naughty boys getting away with something. Scream Factory\u2019s new 4K transfer beautifully captures the distinctively slick yet grimy sheen of early-\u201880s studio genre pics. (Includes audio commentaries, deleted scenes, new and archival interviews, new and archival featurettes, theatrical trailer, and TV and radio spots.)<\/p>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/products\/effects\" target=\"_blank\" rel=\"noopener\"><strong><em>Effects<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>This low-budget horror flick\u2014a Blu-to-4K upgrade from AGFA\u2014was shot in 1978 but never received a proper theatrical release. But since it\u2019s about a snuff film shot on the set of a low-budget horror movie, its sketchy background and offhand sleaziness is a case of form following function; the grunginess of even this well-restored image contributes to the mood. It was shot for chump change by George A. Romero\u2019s regulars, and proof of that old saw about writing what you know, concerning as it does a low-budget horror shoot that goes sideways. It\u2019s a film plugged in to the mechanics and dynamics of an indie set, by people who\u2019ve participated in late-night rap sessions, discussing their favorite movies and scares, or in-depth disagreements about degrees of reality in gore. (They\u2019ve clearly had these arguments before.) Writer\/director Dusty Nelson keeps playfully flipping the script, fooling us with what\u2019s a movie and what\u2019s \u201creal,\u201d particularly as horror-movie techniques begin to invade the film-set framework. In other words, they\u2019re diving into the meta-horror territory later explored in Wes Craven\u2019s&nbsp;<em>New Nightmare<\/em>&nbsp;and&nbsp;<a href=\"https:\/\/crookedmarquee.com\/stage8\/scream-and-the-video-store-generation\/\"><em>Scream<\/em><\/a>, with real wit and insight. Nelson yields a bit to conventionality in the climax, but that complaint aside, this is a thoughtful, believable, and unsettling little banger. (Includes audio commentary, Q&amp;A, featurette, and short films.)<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3PBXUad\" target=\"_blank\" rel=\"noopener\"><strong><em>Cold Eyes of Fear<\/em><\/strong><\/a><strong>: <\/strong>Indicator gives the crisp 4K treatment to this efficient 1971 Italian thriller from director Enzo G. Castellari (<em>The Inglorious Bastards<\/em>\u2014no, the other one). It\u2019s a bit of a bait-and-switch, and a good one; the disturbing opening sequence and deliciously unhinged Ennio Morricone score make it <em>seem<\/em> like a giallo, but Castellari pulls the rug out to reveal something closer to a <em>Wait Until Dark<\/em>-style, home invasion thriller. It\u2019s all grimy and great in that very particular \u201870s Italian crime film way, but the longer it goes the wilder Castellari gets, and by the end he\u2019s doing things in the montage and camerawork that border on Cubism. (Includes audio commentary, featurettes, interviews, and trailer.)&nbsp;&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Cold Eyes of Fear 1971 Trailer HD\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/yhUJjmLGWQ4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>ON BLU-RAY:<\/strong><\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3CTHrWZ\" target=\"_blank\" rel=\"noopener\"><strong><em>Pasolini 101<\/em><\/strong><\/a><strong><em>: <\/em><\/strong>The Criterion Collection marks the 101st anniversary of the birth of Pier Paolo Pasolini with this collection of <a href=\"https:\/\/crookedmarquee.com\/stage8\/pasolini-begins\/\">his fascinating early work<\/a>, which finds him working in a variety of modes before settling on his signature style. Including nine features, spanning from 1961 to 1969, several of them new to Criterion; of those, my personal favorites are <em>Love Meetings<\/em>, wittily self-aware&nbsp; documentary in which he surveys average Italians for their opinions on love, sex, and their particulars (he\u2019s probing, challenging, and sometimes even provacative\u2014a preview of the career ahead of him); and <em>The Hawks and the Sparrows<\/em>, a playful morality tale with splashes of Chaplin, Laurel &amp; Hardy, and <em>Waiting for Godot<\/em> that turns thrillingly serious on a dime. The artistic growth and command of the form contained in the box are sort of astonishing, and while the price tag is steep, it\u2019s worth it. (Includes audio commentaries, short films, documentaries, featurettes, French television appearance, interviews, trailers, and book.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3Jwlgdg\" target=\"_blank\" rel=\"noopener\"><strong><em>The Servant<\/em><\/strong><\/a><strong>: <\/strong>Also new to the Criterion Collection, this 1963 British (<em>very British<\/em>) drama was the first of four collaborations between idiosyncratic director Joseph Losey and inimitable screenwriter Harold Pinter. It\u2019s a clash of the classes story, in which a wealthy Londoner (James Fox) hires a manservant (Dick Bogarde), and all goes well until the women in their lives threaten their exceedingly close relationship. It\u2019s the kind of picture where much of the pleasure derives from watching everyone\u2019s good manners and cheery disposition evaporate into a kind of feral psychological desperation (\u201cI RUN THE WHOLE BLOODY PLACE AND WHAT DO I GET OUT OF IT?\u201d asks the title character, hitting rock bottom). Pinter\u2019s occasional tendency for metaphor over drama is a bit of a hindrance, and Losey sometimes loses his tenuous grasp on the events. But the performers are on fire, pulling the picture over the periodic bumps in the road. (Includes archival interviews, featurette, and trailer.)&nbsp;<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3CSe3Ao\" target=\"_blank\" rel=\"noopener\"><strong><em>Medicine for Melancholy<\/em><\/strong><\/a><strong>: <\/strong>Barry Jenkins finally joins the Criterion Collection with this glorious edition of his 2008 debut feature. A lovely and low-key hang-out movie, with a vibe somewhere between <em>Before Sunrise<\/em> and <em>Love Jones<\/em>, it concerns two Black bohemian San Franciscans (Wyatt Cenac and Tracey Higgins) who decide to spend the day together after a one-night stand. Jenkins was still finding his voice and style, and the low budget, digital video look is closer to mumblecore than <em>Moonlight<\/em>. But the talent is firmly in place, and the performers\u2019 lived-in chemistry and charisma makes this a quietly affecting charmer. (Includes audio commentaries, featurette, camera test footage, blooper reel, and trailer.)&nbsp;&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"MEDICINE FOR MELANCHOLY - Official Trailer\" width=\"760\" height=\"428\" src=\"https:\/\/www.youtube.com\/embed\/bMb8xziXXqg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><a href=\"https:\/\/vinegarsyndrome.com\/products\/funny-ha-ha\" target=\"_blank\" rel=\"noopener\"><strong><em>Funny Ha Ha<\/em><\/strong><\/a><strong>: <\/strong>Speaking of mumblecore, this 2002 breakthrough from writer\/director\/co-star Andrew Bujalski was one of the key pictures in that movement, even though its 16mm photography and the precision of its filmmaker separates it from that minimizing label. Factory 25\u2019s new Blu-ray both honors its influence\u2014it was truly one of the most influential indies of its era\u2014and keeps it fresh and vibrant, with a sharp new restoration that nicely captures the texture and grain of this rough-edged character study with a spiky sensibility and off-the-cuff charm. (Includes interview, \u201cCreature Feature\u201d intro, and experimental title sequence.)\u00a0<\/p>\n\n\n\n<p><a href=\"https:\/\/amzn.to\/3r770kJ\" target=\"_blank\" rel=\"noopener\"><strong><em>Prison Girls<\/em><\/strong><\/a><strong>: <\/strong>There is some confusion over which film holds the dubious title of first adult film in 3-D; 1969\u2019s <em>The Stewardesses<\/em> was a softcore sex comedy in three dimensions (and a wildly profitable one, among the top 15 movies of \u201969, out-grossing\u00a0<em>The Wild Bunch, Topaz<\/em>,\u00a0and\u00a0<em>They Shoot Horses, Don\u2019t They<\/em>, among others). This 1972 entry from <em>Hell Night <\/em>director Tom DeSimone was advertised as \u201cThe First Real Adult Film in 3-D,\u201d but it\u2019s about as soft as <em>Stewardesses<\/em>, in terms of the practicalities and logistics of these things. (And it rarely makes as much, or as clever, use of the 3D technology.) But it <em>feels<\/em> dirtier, like an uncut line of \u201870s sleaze, as a group of the titular women con their way into weekend passes that are mostly spent having (frankly, kinda dull) sex. It\u2019s not a great movie, by any means, but it\u2019s a fascinating curio, and offers plenty of chuckles for sexpoloitation connoisseurs. (Includes audio commentary, deleted scene, theatrical trailer, and both BD3D polarized and anaglyphic red\/cyan versions.)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Our bi-weekly look at the best new must-see titles on Blu-ray, 4K, and your subscription streaming services. <\/p>\n","protected":false},"author":531,"featured_media":20366,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1616,340],"tags":[1617,1436],"class_list":["post-20365","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-disc-streaming-guides","category-movie-reviews","tag-disc-streaming-guide","tag-reviews"],"_links":{"self":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts\/20365","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/users\/531"}],"replies":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/comments?post=20365"}],"version-history":[{"count":0,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/posts\/20365\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/media\/20366"}],"wp:attachment":[{"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/media?parent=20365"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/categories?post=20365"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/crookedmarquee.com\/stage8\/wp-json\/wp\/v2\/tags?post=20365"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}