In Atropia’s type of satire, where war—and all its ugly realities—is being practiced as a performance for misplaced dominance, more than one mouthpiece is needed. Alia Shawkat’s oppositional firebrand is not enough. Callum Turner has to pull his weight.
Read MoreAsking Albert Birney to paint with a little more zip than dread would take away from his distinctiveness. This route will have its cult fans who stoke the fires of commentary comparing today’s anti-social generation with the past one. However, it’s still a course that regrettably shrinks the contagious wonder the premise of this daring jaunt could have generated.
Read MoreLess would have been more, and less was already enough with The Dutchman. The movie never had to leave the train or the topics unleashed there. The originally intended inescapable struggle is demystified the moment it treads away from it. Worse, by leaving and constantly pointing at the fact that the very theatrical setting exists and supposedly still looms large, it negates what made it powerful and great in the first place.
Read MoreWhere James Cameron previously succeeded in his lengthy epics was when scripts were flipped at some point to shift power dynamics and emotional anchors dramatically. Look no further than the leap and advancement from The Terminator to T2. Shockingly, a copy machine was used in place of a springboard, and the disappointing storytelling results show—no matter how pretty it all looks.
Read MoreThe extremes between comedy and trauma are woeful and disorienting. The more she’s tuned out or weighted down by nutty anxiety, the more we, the audience, are squelched from hearing and being inspired by the full gusto potential of Ella. It’s colossally disappointing Ella McCay did not do better by the character the audience needed to root for.
Read MoreGetting swept up in the stylish pageantry, big or small, of a wedding grabs audiences consistently and well. Curiously, My Mother’s Wedding unfurls as a dramedy where the nuptials in question might be the most inconsequential part of the movie. That’s not a bad thing, as it has happened before in celebrated wedding movies, so long as the film has more to say or is interesting elsewhere. Actress Kristen Scott Thomas’s directorial debut generously tries its hand at offering more than just pure ceremony.
Read MoreThroughout Four Letters of Love, two 1970s families in Ireland—one living on a remote western island and another from a more urban city home—experience difficult roads of distressing life events. Between them, there’s a drastic career change, the transition to a new school, future career uncertainty, parental abandonment, a few cases of writer’s block and artist’s block, relationship woes and competing affections before marriage, parental approval of their children’s paths, a handicapping injury, and two losses of parents and spouses.
Read MoreHomage was clearly the goal of Danny Turkiewicz with Stealing Pulp Fiction. Matching Tarantino, our two leads of Rudnitsky and Soni are a mismatched pair of buddies with loser exteriors and ambitious interiors with their own acronym-filled lingo and hangout vibe. Jonathan and Steve are a pair classic QT chatty Cathys who incessantly talk and finish each other’s sentence. Choosing some easy traits to match, the movie is edited into several titled chapter sections, includes similar musical cues, and emulates some of the framing and slow-motion camera moves of Quentin’s motifs and techniques.
Read MoreIn the central performance of Thirsty, Jamie Neumann lays this character bare. In each scene representing a defining choice—whether it’s a buoyant stump moment impressing the gathered public or a privately tormented decision—the actress shows emotional mettle that is tangible, mature, and impressive. Harsher truths and consequences rightfully burn here.
Read MorePutting those stars together with that concept surely has to generate some sizzle with the history and mythology crowds, right? Well, with all pun intended, leave it to Apple and professional retreading screenwriter James Vanderbilt (currently stewarding Netflix’s Murder Mystery series and the legacy sequel vapors of the Scream franchise) to go back to a fading Hollywood well, leap in, and find it dry.
Read MoreEven if there are fleeting bits of decent togetherness from the losers, Thunderbolts* is a meta image reclamation project going for no more than light applause, and it shows. By embracing the jokes of being jokes themselves, it all too often still becomes or stays a joke. Thunderbolts* goes to show that when you make something about cheap heroes, you get a cheap return.
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