They linger, skitter and roar; excite and intimidate. Their presence can be curious, and at times the absences of others are a relief. They have their own hierarchies, although at times clashes can break out for the worst.
When a film’s moniker bears the words “fantastic beasts,” it’s not an advantage when those above words describe its multitudes of plot threads as accurately as the extraordinary creatures conjured up for J.K. Rowling’s wizarding world.
Much like this universe’s beloved nifflers, powerful dragons or sassy bowtruckles, the various tidbits of story and exposition in the second installment of this “Harry Potter” prologue series are disparate, with their own ambitions and unpredictable tendencies rooted in a hunger for attention. Ultimately, it’s to the film’s detriment, though fans of the series would be hard-pressed to leave the theater not feeling a little enchanted simply on the merits of returning home to this universe. Increasingly, it feels like reuniting with an old, robed friend. Continue reading →
There’s a scene early in “Widows” – Steve McQueen’s latest and most unorthodoxly mainstream movie – in which Robert Duvall’s aging, racist local statesman tells his son and heir that his new $50,000 painting comes across as mere wallpaper.
Colin Farrell’s Jack Mulligan responds with a nondescript rebuke, as if on a deeper level he doesn’t fully disagree: “It’s art.”
The brief exchange can garner a universal chuckle for those watching in a moviehouse, but one gets the sense that isn’t McQueen’s intention. How we react to the scene, after all, is also a product of our experiences.
Would $50,000 turn our lives around? Is it pocket change? Do we ever dream of being at a place where that sum of money could be spent on a single, needless piece of wall decor? Could we dream of it? Continue reading →
A fist is raised. Feet are stomped. A guitar riff rings out. And a legacy is cemented.
The final 20 minutes or so of the new Freddie Mercury biopic/Queen story – it isn’t quite clear – is essentially a mini Queen concert, specifically recreating the band’s 1985 Live Aid appearance. It’s the prime reason why at some point, someone has recommended you watch “Bohemian Rhapsody” on the biggest and loudest screen you can.
The suggestion has legs, though to somewhat of a fault. It’s an energetic and appropriately entertaining sequence driven to an obsessive pursuit to include every detail from the real-life event, exhibiting as much authenticity as is absent in the previous 100 minutes of the film. Continue reading →
I had just turned 9 years old when Dad took me to see “Spider-Man 2” at an Indiana movie theater. It was the summer of 2004, and there was little foundation in my mind for what I could expect to marvel at on the big screen, other than the first Spidey movie and a tie-in computer game I spent some time playing a few years prior.
Of course, that didn’t stop me, nor millions of others, from having a hell of a moviegoing experience. In 2018 “Spider-Man 2” still a highlight of the genre—even though its arrival was still early in the era of the superhero movie, when Marvel Cinematic Universe wasn’t yet a part of the Hollywood lexicon.
It was also a movie that led me to an epiphany. Continue reading →