For the impressionable young woman and clearly smitten guy, played by Freaky’s outstanding Kathryn Newton and future West Side Story cast member Kyle Allen, all hope is far from lost after this first unified encounter. They get to do this all over again. Playing in the self-aware Groundhog Day and Palm Springs pond, their Mark and Margaret are stuck in a temporal loop, repeating the same sunny Alabama spring day that ends with the hints of a cleansing thunderstorm at midnight that never comes before the alarm clock awakens the restarted day.
Read MoreHarry Macqueen’s sophomore feature film takes its name from the celestial phenomenon of “the explosion of a star in which the star may reach a maximum intrinsic luminosity one billion times that of the sun.” We even watch the far off flicker of one occurring pre-credits. “Maximum intrinsic luminosity” meaning peak essential brightness, eh? Yes, that can aptly describe the very earthly power of Supernova’s loving relationship and the brimming personalities united in that bond.
Read MoreThere is a small delight many viewers may share with Marcus, the main character of Hulu’s The Ultimate Playlist of Noise played by emerging actor Keean Johnson of Midway. This writer is one of them. Marcus’s narration brings up his enjoyment watching the facial expressions and body language of people hearing any array of sounds. Be it directly or voyeuristically, he’s astounded and inspired by the captivation seen among those listeners. He’s right. Try it yourself.
Read MoreNearly every artistic element of Pieces of a Woman holds a fixation with its lead Vanessa Kirby and rightfully so. Co-stars encircle her aura hoping to get closer. They are met by a lithe posture contorted in guarded torment that holds back their approaches. Her icy blue eyes, arched by her dark eyebrows, hold dry from tears, hang open while lost in thought, and project stares when attention is gained. Of all the points of focus captured by director Kornél Mundruczó, Kirby’s hands are purposefully watched the most. Historical quotes keenly remind us “idle hands are the devil’s workshop” and “nothing good comes from boredom.” Pieces of a Woman finds places to condone those vices.
Read MoreAt the tipping point in Shadow in the Cloud when action becomes necessary to confront mounting threats, it is a lone woman surrounded by chauvinistic men that doubtlessly steps up above all others. Pushed to fight or flight, she’s going nowhere and her battle cries are “You’ll see what I’m capable of!” and “You don’t understand how far I will go!” Fellas, be afraid. Don’t dare cross a determined woman, no matter their size, age, or profession. They have outright toughness most cannot fathom.
Read MoreNow, judging by storied perception of the “Louisville Lip” and his towering ego on the biggest night of his young career, one might expect One Night in Miami to set off a boastful barnburner of boozy partying and liberating frolic. The result is quite the contrary. There are no bars, no girls, no flashbulbs, and no hanger-on fans. It is just these four influential men and the hotel spaces before them as they wrestle with the gravity of the moment and share the ongoing bigotry they have experienced on different levels and from different sources. To celebrate here is the exhale and vent, not dance and prance.
Read MoreThe narrative scope of playwright August Wilson’s Ma Rainey’s Black Bottom is a setting of Black performers sharing their collective experiences in life that now go into their music. There is a precarious pendulum of friendly diatribes and combative challenges between the traveling band members of the titular “Mother of the Blues.” Their forum may be a lowly basement rehearsal room, but the expanse of their descriptive histories reaches generations farther than mere geography.
Read MoreUnfortunately, this moment of the borrowed title song getting its proper spotlight is the rustic crest of this movie. Wild Mountain Thyme tries so hard to climb higher. Its romance is constantly saddled with blindness that misses the point of the lyrics. It’s as if the refrain of “will ye go” in the song is stuck by the living embodiment of “s--t or get off the pot” instead. There’s real beauty there, it’s a shame the movie didn’t have it other than the scenery. In the words of one of Ireland’s ancient language, dia ár sábháil!
Read MoreHumanity rightly becomes the beautiful and ruminative zenith of The Midnight Sky. It occupies a reality that could match the here-and-now as much as it defines its fictional future when addressing the helpful and harmful effects of both minute and broad human actions. Clooney’s combined work on this drama is forthright with its altruism and free of forced villainy. True to the earlier introduction, this experience to be cherished rises to be about character more than crisis, which is where poignant performances take over. Their benevolence is mesmerizing and their endurance beyond is moving.
Read MoreMuch to her flexible power for sardonic comedy or reckless abandon, actress Aubrey Plaza has a look. It’s not entirely a scowl. It’s not entirely a cynical grin. Deeming it a case of “resting bitch face” would be a dismissal to grander notions going on behind those eyes and curved lips. No, it’s more than that. It feels like all of the possible come-hither coyness mixed with all of the possible perilous threat her presence can express. She’s a puzzle, and it’s quite alright to love that about her.
Read MoreWhat folks are going to find with the escalating thriller Wander is a screwy little movie saved by committed performances. The trouble comes when the committed performance comes from the character that should be (and ends up) committed in the clinical sense. Be ready to question everything in Wander because the audience lens and main character is a rooting-tooting conspiracy theorist, yarn-and-tape boards with newspaper clippings and all, who makes his scratch as a private investigator. The unreliable narrator energy is strong, but that’s the entertainment when you make it to the finish.
Read MoreThere’s another great line in Luxor that says this is “a place that whispers to you if you listen.” It’s an effect threaded into the soundscape of the film by sound designer Frédéric Le Louet (The Informer) wafting in and out of the score from documentary composer Nascuy Linares (Embrace of the Serpent). The tourists around Hana hear tales of reincarnation and the passionate myths of polytheistic demigods. Whether she believes them or not does not compare to where her conflicted self esteem hangs precariously during this short holiday.
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