At some point while watching Greta Gerwig’s fantastic “Lady Bird,” I managed to pull myself out of its welcoming hypnotism to question myself: “How is Gerwig pulling this off?”
In a tight, taut and splendidly radiant 94 minutes, the film not just touches on a remarkable amount of subjects, but deftly explores seemingly every thread that makes up the sometimes horrid and sometimes wonderful collage of everyone’s senior year in high school.
I talked the experience over with my two friends afterward, and it was almost immediately and abundantly clear how a different one of those threads resonated with us the most – based on our own background. Continue reading →
“Hello, darkness, my old friend…”
Well. Here we are.
After three-and-a-halfish years of this iteration of the DC Extended Universe, a span of time which has seen film quality – and level of consumer confidence – fluctuate from acceptable (“Man of Steel”) to bad (“Batman v. Superman: Dawn of Justice”) to worse (“Suicide Squad”) to rebirth (“Wonder Woman”), we have finally arrived at what, we assume, should be a benchmark for this iteration of DC superherodom.
Instead, “Justice League” feels more like a litmus test, a way to test the loyalty of its fanboys while providing a predictable story whose flashiest moments still lack any really intrigue to stand out in a saturated genre. While easier to swallow than “Dawn of Justice,” you know you have a problem when there’s more charm in your 60-second mid-credits scene than everything that has preceded it. Continue reading →
The latest film from Yorgos Lanthimos is one that somewhat proudly stands on an infrastructure of masochism, both implicit and explicit.
“The Killing of a Sacred Deer” is uncomfortable virtually all the way through – for both its characters and for us in the seats watching through peered fingers. The Greek director/writer who broke out as a sort of demented Wes Anderson with last year’s Oscar-nominated “The Lobster” has now added a dash of Darren Aronofsky, and the result is one of the more original and – no matter how hard some will try to repel its sadistic vibes – unforgettable motion pictures of 2017. Continue reading →
You’re watching closely, listening intently. You’re trying to follow Detective Poirot’s keen instinct, while trying to resist the fact that you’ve lost him many scenes ago. You’re accepting the clichés, for whatever they’re worth, because you’re hoping it will all pay off in the end.
And then, all of a sudden, the end is here – seemingly out of nowhere, with little fanfare and even fewer clues that the mystery was ever close to being solved. The payoff? Miniscule. Continue reading →
It’s about time we got something like “Thor: Ragnarok.”
After nearly a dozen years of spinning an increasingly complex web of Marvel stories and characters, the studio realized a need for giving audiences something new and invigorating; something to keep the spark alive, if you will. And they picked the perfect franchise to do it.
With “Ragnarok,” one of the MCU’s least consequential (and – let’s face it – one of its least interesting) franchises doesn’t just get a facelift; it’s infused with a new energy. With the third solo entry for Thor – “solo” becoming more and more ambiguous the further along the MCU machine churns – he’s officially the ugly girl you initially passed up on who went on to become a runway model. Continue reading →