2018 was a gnarly f*cking year.
I think no matter what your political affiliation, how much time you spend on Twitter or whether you stan DC or Marvel films, we can all agree that that is fact now that it’s over.
Thankfully, we still had new cinema to turn to. To provide us solace, to help us make sense of it all, to provide context for changing times and to make us wish that we had a bucket hat-wearing, marmalade sandwich-munching expatriate helping us to get along with each other.
But perhaps even Paddington was too good for this world.
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Barry Jenkins’s latest piece of cinematic fantasia begins in sensual fashion, but considering the sensibilities at play, that’s to be expected. We sweep and glide and spy on two young, black lovers strolling through a city park, approaching ever closer without knowing it until the camera is right up alongside them.
“You ready for this?” Alonso asks, to which Tish replies she’s never been more ready for anything.
Perhaps it’s because of modern, continuously evolving ruminations of love and relationships that we’re tempted to overthink what exactly “this” is. Is it marriage, a child or another otherwise drastic change to come that will test the couple? Is he going off to war? Is she leaving town, him unable to follow? Are they somehow aware of what’s to come—that Alonso, or “Fonny” as he’s called, will soon be arrested for an alleged rape he denies he committed? Continue reading →
For as long as they’ve existed, movies have been synonymous with entertainment. We sit down in the theater, $6.00 Coke and $7.50 popcorn in hand, with the expectation that we’ll be awed by memorable performances, transcendent storytelling and the latest razzle-dazzle in what special effects have to offer.
But the cinema is also a classroom, a place where we learn things about ourselves and the world around us. Directors, screenwriters, production designers, cinematographers, special effects teams—they’re all artists, yes. They’re also philosophers, psychologists and theorists; people who seek to bring messages through their medium. Like all artists, they aren’t creating something for the sake of creating something. Continue reading →
In Yorgos Lanthimos’s latest work, politicians squawk and squabble, insult and chastise, demean and decry. It’s a time of war, but personal status and desire are much bigger priorities than frontline strategy, and a royal palace that increasingly feels populated by childish personalities rarely puts country first.
Lanthimos and Co. probably weren’t expecting or intending for “The Favourite” to have so much in common with the American political hellscape of 2018, but this delightfully deranged retelling of power struggles in 18th-century England makes for eerie and enticing comparison. During an age when it’s become increasingly difficult for satirists to make hyperbolic sense of our world, “The Favourite” – a period piece “Mean Girls” with layers of complexity – smashes us over the head with (mostly) historically accurate allegory. Continue reading →
There was a certain scene in Alfonso Cuarón’s ravishing “Roma” when, for me, it evolved from a gorgeously shot drama into something much, much more powerful; from a gentle giant of a movie into something whose roar can’t be denied. I suspect that point of welcome no return is different for everyone treating themselves to the Mexican auteur’s latest miracle of a movie.
I also suspect that, in a film without agenda but certainly not without rhyme or reason, that’s Cuarón’s intention.
According to him, Cuarón didn’t direct “Roma” so much as live it, having referred to the work as a construction of his memories from growing up in Mexico. He’s not only the film’s director, writer, cinematographer and editor; he’s its autobiographer. Continue reading →
There’s more than one reason why we continue to remember the final Oscar awarded on the evening of February 26, 2017 – or, more specifically, the act of its awarding – as a shocking turn of events for the Academy Awards, awards shows in general and those involved, not to mention the millions watching at home.
If dictionaries included video examples of its entries, we would see this under “fiasco”: Those few moments, witnessed then and recalled now as feeling like much longer, when golden statuette-clutching “La La Land” producer Jordan Horowitz announced that the actual Best Picture winners were in fact those behind “Moonlight.” And legitimately so; it remains an absurd occurrence, an oft-forgotten example of the mayhem that can unfold on live television.
When the golden Oscar dust had settled, however, when all the actors (pun partially intended) involved had said their piece on what happened and media outlets broke down the sequence of events like an episode of “CSI,” a more historically impactful (and decidedly less clickbaity) reason for that event’s enduring legacy began to emerge. Continue reading →
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 →