The controversial new film Blonde swirls surreal cinematic brushstrokes meant to express the hushed nightmares beyond the celebrity dreams of Norma Jean Mortenson and compose a reminiscent and heartbreaking portrait of the legendary star. The audiences’ applause of adoration is replaced by cries of anguish and pain often unseen by anyone. It is those tears that paint this film. For better or worse, those tears are what you now remember more than the smiles when it comes to Marilyn Monroe.
Read MoreThe cold hearts, jealous places, and mental battles of Deep Water slip into near despondency without a resonating grip. When it’s all said and done, the movie is not violent enough for HBO, not sexy enough for old school Cinemax, not polished enough for a major studio release, and not shocking enough for Netflix’s water cooler buzz desire to ensure a subscriber spike. That’s an embarrassing end result of mediocrity.
Read MoreTo use a boxing term favored by commentators, “Hands of Stone” has a “big fight feel.” The ferocious energy and volatile personality of Edgar Ramirez’s Roberto Duran emits enough heat to liquefy lead. Add in the smooth and suave Sugar Ray Leonard, played by a game Usher Raymond IV, as the titan to topple and the effect is multiplied. “Hands of Stone” doesn’t break any new ground, but it operates with low mistakes to be a step above competent and solid within the sports film genre.
Read MoreYou know the "Goodfellas" tropes: excessive narration, ordinary people getting rich or powerful doing extraordinary and often illegal activities played by colorful actors or actresses, dramatic license spinning a likely lesser true story, a kicking period soundtrack, pervasive drug use, freeze-frame shots to stamp moments, and a tidy epilogue of comeuppance. Imitation may be the sincerest form of flattery, but it is also lazily standing on the shoulders of giants. That’s the impact and existence of Todd Phillips’s “War Dogs” in a gun… err… nutshell.
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