Aesthetics and substance are two entirely different things in cinema. You could have a film that is bracingly inventive in its visual approach but fall flat in its narrative ambitions. Ditto the reverse, a visually flat film with a well-realized narrative. The latter is usually worth a recommendation, but the former can be problematic, even when you have a film as visually accomplished as Joe Talbot’s “The Last Black Man in San Francisco.”
Read more‘Mektoub, My Love: Intermezzo' Review: Abdellatif Kechiche's Male-Gazing Shocks Cannes
Abdellatif Kechiche‘s “Mektoub, My Love: Intermezzo” is a 212-minute cinematic revolution. It means to destroy our notion of what a movie should be in 2019, and the fact that the film was included in Cannes competition is a message in itself from Thierry Fremaux and the gang.
Read more‘Booksmart': Olivia Wilde's Directorial Debut Aims to be the Female ‘Superbad' [Review]
A film like “Booksmart” lives and dies by its two central performances. Beannie Feldstein (Lady Bird) and Kaitlyn Dever (Short Term 12), respectively, play Molly and Amy, two upcoming high school graduates that have built up their own hermit-like worldview together. It’s not like they are anything like the central character in Bo Burnham’s “Eighth Grade” who had to fend her miserable experience all by herself, no, Molly and Amy are two peas in a pod, they are the kind of inseperable friends that complete each other’s sentences and are content with hanging out in their rooms instead of going out and socializing with the rest of their classroom. And yet, they do have a rapport with the rest of their classmates, it’s very apparent in the classroom sequences where the cliches that may have once been apparent in John Hughes and teen movies from the ‘90s completely evaporate. There is no bully, there is no jock, there is no cool kid, the stereotypes are not there and that is incredibly refreshing to witness.
Read more‘Once Upon a Time … in Hollywood' Review: Tarantino's Latest is Brilliant, Ambitious and Personal Filmmaking —Cannes
Quentin Tarantino was just 6 years old and living in Los Angeles when Charles Manson sent his gang of toxified flower children to murder Tate and four others at the home she shared with husband Roman Polanski. At the time of her death, she was eight-and-a-half months pregnant. There is absolutely no chance that Tarantino doesn’t remember that time, even at a young age. The Manson murders are credited as changing the landscape of American society and culture.
Read more‘A Hidden Life' Review: Terrence Malick's Comeback Will Have to Wait— Cannes
I had hoped that Terrence Malick‘s “A Hidden Life” would finally be the movie to bring the auteur back into tip-top shape, after a trio of bad movies (“To the Wonder,” “Knight of Cups,” “Song to Song”), however, alas,that is not the case. The story of Franz Jagerstatter (August Diehl), the Austrian farmer that refused to fight for the Germans during World War II, is fascinating one, but Malick decides to self-indulge yet again; Clocking in at close to three hours, the film is an hour too long. Someone really needs to tell him to hire an actual editor,
Read more‘Little Joe' Review: An Allegory to Our Prozac Nation Falls Flat — Cannes
I would love to go into detail about Jessica Hausner's "Little Joe," but here I am, it's 3 in the morning, I just saw a screening of Stanley Kubrick's restored "The Shining," in 4K no less. Alfonso Cuaron was there to present it alongside Kubrick's daughter Vivian and his second in hand Leon Vitality.
Read more‘Atlantics' Review: Ghosts Are All Over This Senegalese Feature — Cannes
After a successful jaunt in acting and directing short films, french actress-writer-director Mati Diop returns to Senegal for her first feature-length movie “Atlantics.” Coincidentally, this is also the first film directed by a black woman to compete in Cannes' main competition. Maybe that’s why the reviews have been positive for this middling movie, a complete and utter slog.
Read more‘Sorry We Missed You' Review: Ken Loach's Greatest Hits — Cannes
Bless Ken Loach’s heart. The man is relentless in his refusal to stop depicting working-class stories. After all, even his closest competitor, Mike Leigh, has dabbled outside his comfort zone in the past; not Loach, though, who was once retired but is back to tell the tales. Good on him. I will freely admit that his latest, “Sorry We Missed You,” got to me for its first hour or so, but it eventually got tiresome in its attempts to hammer on its anti-capitalist message. The miseries kept piling up, so much so that it felt like overload.
Read more‘Bacurau' Review: A Perplexing Mix of Magical Surrealism and Grindhouse — Cannes
Kleber Mendonça Filho triumphed at Cannes in 2016 with the best movie of his careerm "Aquarius." That film was led by a mesmerizing performance from Sonia Braga and dealt with his native Brazil being invaded by gentrification. Filho’s latest, "Bacurau," is a whole other beast, an exercise in B-movie trappings which feels a little too facile, at least on surface and when compared to Mendoza's previous works.
Read more‘Les Miserables' Review: A French ‘Training Day' With Added Political Resonance— Cannes
The fringes of France are about to blow up in Les Misérables, the feature-length directorial debut from 39-year-old Ladj Ly. The film expands on Ly’s documentary and César-nominated 2017 shortof the same name, which also starred this feature’s three leads.
Read more‘The Dead Don't Die' Review: Jim Jarmusch's Zombie Film Feels Unfinished— Cannes
After going for depth and gravity with “Only Lovers Left Alive” and “Paterson,” writer-director Jim Jarmusch stumbles with his latest, the slight zombie comedy “The Dead Don’t Die.”
Read more‘I am Mother’: Hilary Swank's Wonky Sci-Fi Robot Movie
I did not review “I am Mother” when I saw its premiere at this past January’s Sundance Film Festival. Mostly because it doesn’t bring anything new to the genre. We already know that if you’re making a sci-fi about artificial intelligence then you most likely will have to deal with the, ahem, downside in accepting robots as “one of us.”
Read more‘The Lodge' Trailer: Arthouse Horror Done Right.
Arthouse horror is on a tear right now, and it’s no secret. One of the most inspiring movements in American cinema right now, modern classics like “Hereditary,” “Get Out,” “The Witch,” “It Follows,” et al. have reinvigorated a genre blunted by the cheap slasher films of the ’80s and ’90s and sparked something of a movement, thoughtful, emotionally bruising and sometimes glacially paced horror. Who knows, look back in 10 years, and cinema historians may find an even deeper correlation that we can see to our toxic, uncertain times, and this cinema of unease and collective trauma.
Read more‘Detective Pikachu' Is Strictly For Die-Hard Pokemon Fans [Review]
I don’t really want to waste too much ink on Rob Letterman’s “Detectve Pikachu.” It does adhere to diehards of Pokemon, despite the comedic voicework of Ryan Reynolds as the titular private eye.
Read more‘Avengers: Endgame' Belongs in the MCU Time-Capsule [Review]
When we last saw the heroic Avengers in 2018’s “Infinity War,” we were all stunned by the devastating final minutes, in which evil Thanos (Josh Brolin) got a hold of all six of the Infinity Stones and snapped his fingers, causing half of the world’s population to be killed. Many of the key MCU players, including Spider-Man, were thus, supposedly, wasted off into a barrage of grim apocalyptic dust. Of course, this being Marvel and Disney, there was absolutely no way this could conceivably be the way the 22-movie MCU ended. And so, here we are with “Avengers: Endgame,” which opens where we last left off: the infamous “Snap.”
Read more‘Hail Satan’ Plays Devil’s Advocate [Review]
“Hail Satan” is, first and foremost, about resistance; resistance against sectors of Christianity which have heavily deviated into their own toxic kind of militant evangelism. In fact, it’s this problematic nature of religion that kick-started the creation of The Satanic Temple. In Penny Lane’s documentary, The temple is rendered as nothing short of a troll-punking organization. It’s also an atheist-minded religion which keeps the positives that would come with religion — such as the camaraderie, organization but intersects these positives with progressive liberal values. You might ask, where does Satan fit into all of this? Oh, he’s mostly used as a direct conduit to infuriate Christian extremists, most of which actually believe The Satanic Temple abides by Lucifer’s throne. They don’t. In fact, The Satanic Temple does not worship Satan as a literal god at all. It’s all about the symbolism, baby. After all, the lord of darkness was the ultimate rebel by which the earliest biblical stories were told. These post-modernist Satanic followers mostly just want to place his statues all around red-state public spaces, including a Baphomet smack-dab in the middle of the Arkansas State Capitol. The fight to take the statue down, not to mention the idea of replacing it with a replica of the ten commandment plates, thanks to one Arkansas lawymaker, form the absurdist drama of the doc. Lane uses talking-heads footage from high-ranking TST members to forward her narrative, including the inner dilemmas such as the ethical rivalry between spokesman Lucien Greaves and Jex Blackmore, the founder of TST’s Detroit chapter who caused controversy within the organization, and ensuingly got booted out of it, after deciding to incite violence towards the temple’s enemies. Blackmore believes the separation of church and state isn’t enough, and that anarchy is needed to further promote the Staanic Temple’s goals.The rest of the movie is surprisingly infused in light and satirical manner by Lane, to further establish Satan’s rebelliously playful demeanor. If anything, Lane tries to make the case for America, in all its divisiveness, to take the moral examples presented by these lord-of-darkness-worshiping jokesters and change its mindset for the greater good. [B/B+]
Taylor Schilling Rules in Safe but Watchable ‘Family' [Review]
Sometimes a performance can carry a film and make it work despite an average screenplay. It takes a talented actor or actress to make this happen, but when it does, it becomes a testament to their ability to carry a film all by themselves, which is that rare thing that producers in this industry always look for.
Read more‘Her Smell' Is Absolute Movie Hell [Review]
Alex Ross Perry is a filmmaker that I’ve never fully warmed up to. His films tend to be both slight and pretentious. His latest film is titled “Her Smell” and it is no doubt an audience-test movie — a story about an unlikable character in the form of manic-crazy rock star Becky (played by Elizabeth Moss) who is the lead singer of a fictional all-female band named Something She. Since this film is set in the ‘90s, and these gals hail from Seattle, I presume the music they perform is grunge, although there are definitely punk remnants to it as well. This trio of gals all wear heavy mascara and eyeliner makeup and like to flick their tongues in demonic punk-rock fashion any chance they get, whether it be on-stage of off. I honestly was not down with this movie within the first 10 minutes, I just knew this wasn’t for me, but I stuck around, waiting for the film to gradually improve.
However, clocking in at 135 minutes, “Her Smell” should very much be qualified as an endurance-test for anyone except Alex Ross Perry’s most ardent of fans. The fact that you have to succumb to the camera and follow Becky’s point-of-view during the entirety of this film feels like hell because she’s nothing more than a mean-spirited individual who gets her endorphin rush not just from the drugs she injects, in what seems to be an hourly basis, but most especially from putting down anyone and everyone around her orbit; Some of her victims include her two bandmates (Agyness Deyn, Gayle Rankin), the opening act (Cara Delevigne, Dylan Gelula, Ashley Benson), her ex-husband (Dan Stevens), a record-label owner (Eric Stoltz) and her manager (Virginia Madsen). Rather than putting a stop to Becky’s mayhem, these individuals stick around, facilitating her bullying by not calling her out for a good portion of the film, that is until they are near the breaking point of their sanity. Coincidentally enough, that’s how we feel watching the movie.
Things do get better in the final few minutes, when Becky tries to find redemption and make amends for her grotesque behavior, especially when she decides to play a piano rendition of Bryan Adams’ ‘Heaven’ to her little baby girl. It’s a wonderfully humane and intimate moment in a film filled with vile degradation and mean-spiritedness. This is absolute movie hell. [D+]
‘Hellboy' is a Grade-A Stinker [Review]
I mean, did you really believe that this latest incarnation of "Hellboy" would actually be better than the two excellent Guillermo del Toro films we got back in '04 and '08? Of course not.
Read more‘Girls of the Sun' Has Harrowing Action, But is Bogged Down By Speechifying [Review]
Bahar (Golshifteh Farahani) is the leader of an all-female battalion of Iraqi and Syrian women, who escaped kidnapping at the hands of an Islamic terrorist group and are planning their revenge. Mathilde (Emmanuelle Bercot), a veteran war reporter, with an eyepatch no less, follows Bahar and her warriors in Kurdistan where they try to take back their invaded village from the terrorists.
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