Though measured as a small independent film, Flower is an undoubted showcase platform for the soaring talent of Zooey Deutch. Clad in her plain tank-tops and empowering a character with all kinds of obscene confidence, not even the worst behaviors on display can take away the magnetism of her frank and jarring performance. For most of the film, she shines repulsiveness with unmatched charisma.
Read MoreTaking the full theological route possible from A Wrinkle in Time would be too strong mentally and too trippy visually for most of today’s audiences. By contrast, skimping on those expressions in favor of softer and attractive commercial cuteness sanitizes what makes the novel a subversive and revered classic. What you’re getting today in 2018 is a noble attempt at the core of the former with many caveats and concessions made for the latter.
Read MoreSome films that cross our eyes are an exercise of the art form. They trade tidy entertainment for a celebration of craft. There are clear pluses and minuses to such an undertaking. Stripping away conventions left and right to make something wholly unique and downright peculiar, November was Estonia’s 2017 entry for the Best Foreign Language Film Academy Award. The experimental foreign film brims with allegory and is strikingly shot. However, the film’s compelling qualities never seem to match its obscene effort towards the art
Read MoreThat crucial third act would make a heck of a short film on its own. If we could fast-forward to there, we would be in business. Instead, we get the Eastwood hero worship vanity project parade. Invisible yet incredibly overt, The 15:17 to Paris freely flies its flags of god-fearing conservative morals, manly superiority, unwavering courage, dreams of glory, and military brotherhood. The content isn't lowered for Eastwood’s credibility, but the execution is, even if there is an audience for this sort of thing.
Read MoreIn a reversal of this practical parable’s usual cadence, one man’s treasure is another man’s trash. This is where the tastes, descriptions, and comparisons begin for 1975’s The Astrologer. A young man named Craig Denney set out to direct and star is his own feature film to break into stardom. It was a passion project of sorts derailed by a backstory of avoidable failure. Along the same lines as trash versus treasure, one filmmaker’s passion project is another man’s vanity film.
Read MoreSome causes and plights are universal to the heroism within the human condition no matter the era or culture. Comporting itself with admirable respect for the ennobling experience of its chosen history, Bilal: A New Breed of Hero portrays such heroism for film audiences. This animated feature film presents common themes and intrepid messages within a folklore not often given a Western stage. Named the “Best Inspiring Film” on Animation Day at last year’s prestigious Cannes Film Festival, Bilal: A New Breed of Hero earns a great deal of that praise.
Read MoreJustice League comes across like attempted course correction done on that Etch-a-Sketch. The artist, or artists in this case, are trying to retrace old paths and smooth over past missteps with redrawn swirls, lighter hues, and a fluffy cover-up we call comedy. That effort on the cinematic Etch-a-Sketch indeed changes the initial picture, but only after unnecessarily tedious effort and some remaining messy results.
Read MoreSuburbicon lazily delivers a caper that lacks cleverness, smarts, and anything edgy other than the spurts of hemoglobin that stain a few starched shirts. Even if it is pitch black by design, the final ingredient of fake sentimentality glazed over the proceedings is ineffective to add any varnish to the acidic angle of white-collar crime. Nonsensical twist follows nonsensical twist for an aimless purpose.
Read MoreFor better or worse, Brad’s Status, speaks from a very insulated and ostentatious point of view, that of the taboo term of “white privilege.” Even dramatized for soft realistic fiction, Mike White’s feature directorial debut tries to be a wakeup call of sorts. The dramedy carries a message, a fair and good one mind you, but one that will, unfortunately, fall on multiple deaf ears.
Read MoreThe most superlative aspect of Viceroy’s House and its chronicle of national history for the countries of India and Pakistan is the personal passion behind the project. Bend it Like Beckham and Bride and Prejudice director Gurinder Chadha is the granddaughter of family displaced by the largest migration of people in recorded human history that occurred during the Partition of India of seventy years ago. There is an undeniable core of importance and respect present in the film that shows the great care of Chadha and all involved.
Read MoreGrant Focus Features, director Colin Trevorrow, and debuting feature writer Gregg Hurwitz all the balls in the world for putting out a movie this daringly original during the summer marketplace. Ambition notwithstanding, the extreme tonal shifts, while effective at keeping you invested in The Book of Henry to see what happens next, only half work in totality.
Read MoreRoger Michell stiffens his upper lip from his Love, Actually and Notting Hill fare to tackle a costume drama with My Cousin Rachel. Oddly enough, this film can stake a serendipitous claim as the second Michell-directed film about “kissing cousins” after Hyde Park on the Hudson. Unfortunately, more than a little uncomfortable laughter of preposterousness pokes out of this film while trying to portray itself as flowing romantic drama. That’s not going to sweep anyone.
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