There’s a moment early in the third act of Boots Riley’s “Sorry To Bother You” when the writer-director crosses a line.
It’s not the line, but only because there are several borders to increasingly absurd territory over the film’s runtime. It’s not completely non-sequitor, because anything less might stall the plot’s exponentially batshit crazy momentum.
And you can’t quite argue against it, because it’s a plot development that might hue quite close to normalcy—at least that’s what we come to believe after spending some time in Riley’s head. Continue reading →
The year is 1940. Hitler’s Nazi regime is forging a merciless trail across Europe. France is under siege. England is backed into a corner both metaphorically and, in the case of the 300,000 British soldiers stranded on the beaches of Dunkirk, literally.
If you watched Christopher Nolan’s “Dunkirk” over the summer, you know the story and you know what’s at stake for these soldiers. But what you may not know about is the chaos unfolding at Parliament. Prime Minister Neville Chamberlain has been pushed out for a replacement much less suitable for the office, not to mention at wartime – the easy-to-scrutinize Winston Churchill.
Churchill may be commonly discussed in high school textbooks, and cited in epigraphs of WWII videogames, but as told in “Darkest Hour,” he was just a benchwarmer until peace negotiations could begin. Continue reading →
For 20 years, Guillermo Del Toro has found success in the bizarre and carved himself a niche in the eclectic. He’s done more than anyone (not named Peter Jackson) to create a spot for fantasy in contemporary cinema, with 2006’s piercingly original “Pan’s Labyrinth” serving as the crown jewel of his catalog.
The imaginative Mexican director’s latest effort, though, makes a strong claim for the crown. A more character-driven story than anything he’s undertaken before, “The Shape of Water” is simultaneously a departure from Del Toro’s unfettered imagination and a showcase of the filmmaker at the height of his technical powers.
The fantastical has always been Del Toro’s forte, but “Shape of Water” operates as proof that he can tell a spellbinding story while leaving nightmarish creatures on the bench, while also trading mysticism for a previously untapped amount of realism. Continue reading →
The “Star Wars” franchise, by its very nature, demands that high expectations be asked of it.
While writer-director Rian Johnson’s first offering to the world’s biggest entertainment vehicle is undoubtedly the popcorn flick of the year many have been looking forward to, it’s hard to shake the feeling that the episodic Skywalker saga is in danger of going into cruise control.
In terms of blockbuster action, it’s an oversaturated blast to witness. Narratively, though, it struggles to make the jump into lightspeed.
Johnson takes the reins from J.J. Abrams, cutting down on the nostalgia factor in the process. While Abrams’s story created new conflicts and heroes to root for, Johnson focuses on the introspective journeys of three in particular – Rey, Luke and Kylo Ren. Continue reading →
“You can laugh, you can cry, you can express yourself. But please don’t hurt each other.”
Tommy Wiseau has become known to say that when appearing at screenings of his 2003 disasterpiece, “The Room.”
Now, after 14 years, it’s near impossible to get through “The Disaster Artist” – Wiseau’s biopic and the story behind the greatest worst movie ever made – without laughing, crying, smiling, recoiling or having any other kind of visceral reaction.
For a film that radiates irony through the very fact that it was made, and made very well, that experience must bring it all full circle for Wiseau and his cult hit to rule all cult hits. For years he was the butt of a joke, sometimes even in on it. But thanks to James Franco, his story is now an unexpectedly inspiring one, a seemingly hyberbolic but very real ode to reaching for the stars – even if we can barely lift our arms above our head. Continue reading →
After over two decades and nearly 20 films, it’s refreshing for Pixar to provide its most grounded premise yet.
Following sustained success by way of talking bugs, talking toys, talking cars, talking fish, talking emotions, talking rats and “talking” robots, something about a Dia de Los Muertos-centric story featuring human characters (and, yes, talking humanoid skeletons) feels much more relatable, like Pixar declaring a coup upon itself.
But then again, that was the point of “Coco” – to showcase a world with more connections to reality than any other Pixar offering before it, and to flesh out that world with the humanity the animation giant has the reputation of conjuring. Continue reading →
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 →