This is going to get confusing, but critiquing Voyagers calls upon several illustrative conflicts. First off, science fiction is the realm of high-minded concepts of fantasy, and yet organic humanity creates and drives each and every great idea in the genre. In the same regard, you have homage versus originality in applying prototypical themes to the luster of new settings. Lasty, you have an audience’s subjective aim to project any number of thoughts out of a movie while the work was created with certain objectives in mind that may not be seen or readily interpreted. All three of those dichotomies clash in Neil Burger’s new film with mixed results.
Read MorePunch up the peril. Amplify the spectacle. Turn the big boys loose. That’s it. Should it really be that hard, especially when you pair the two most popular monster properties in cinema history? They’re billed as ancient enemies of a never-ending rivalry. Would it really be that difficult to stand back in Godzilla vs. Kong and “let them fight?” Evidently, it still is. Apparently, monsters are still dragged down by convolution and pesky people.
Read MoreCherry feels like the cinematic embodiment of the expression “throw everything at the wall to see if it sticks.” The Collins Dictionary defines that to mean saying something “that is not believable but hoping that what is said will be acceptable as truth.” For the movie, it’s about the performers and filmmakers piling on every trope and trick they can to try and get noticed for praise. To that end, Cherry is trying way, way too hard.
Read MoreWhen you read the source material coming from David Kushner’s 2014 long-form piece from Rolling Stone and then watch the movie, the character traits and tonal choices just don’t fit. Silk Road has an astounding and blistering story to tell that seems mishandled by those two filmmaker tools for dramatic effect. We too easily see the chopped scars from a machete and the lift of a weakly deflated Thanksgiving Day parade balloon from something that could have been as sharp and heady as The Social Network.
Read MoreThe very accomplished Denzel Washington is and has been many superlative things throughout his illustrious career. His signature intensity and ardent commitment to character have filled trophy cases and made him a magnetic draw across five decades now. One thing you could never call him was boring. Sure, the same can’t be said about all of his movies, but he was never (and I mean never) part of the dullness. Well, after nearly 50 films, there’s a first time for everything and John Lee Hancock’s The Little Things, debuting on HBO Max, is the culprit.
Read MoreIt’s rare, as rare as the ancient treasure trove shown in the movie at hand, but sometimes you encounter a “based on a true story” movie that may have been more compelling and richly told as a documentary than a theatrical drama. The Netflix new release, The Dig, is one of those. Why? Call it subject matter versus character and the pendulum of revealed truths against manufactured melodrama. Sometimes, the dramatic licence amplifies the impact of the embedded facts, but in other instances the injected theatrics water down the truism. While bolstered by a fine cast, Simon Stone’s The Dig is too much of the latter.
Read MoreThe gulf between how good Anthony Mackie looks and everyone else in Outside the Wire is as wide as the Mississippi River delta the New Orleans-born actor hails from. Paired with a whiny and clunky younger partner and pitted against the mirage of a paper-thin, nondescript European villain, there’s so little complimentary muscle next to Anthony. The overwhelming majority of this futuristic army flick couldn’t arm wrestle a toddler.
Read MoreThe trouble is Greenland still cannot resist overselling the unbelievable side of this whole ordeal. The former stunt coordinator director Waugh still needs silly thrills and spills. Rapid societal collapse would be far worse than a smattering of looted stores and some increased traffic here and there. For this movie to go that route, it had to commit more. While shooting for a more grounded perspective, the pitfalls and hurdles placed before Gerard Butler and company try to be harrowing, but they’re still too easy and light on risk. We still have an action hero getting lucky like an action hero too often does. When that happens, the repetitive disbelief smears the good graces of more tense intentions. The eye rolls take over.
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 MoreThe tug-of-war in Happiest Season between head and heart is everything. Even as a fictional holiday yarn, the setting of Clea DuVall’s comedy is rooted in a present social landscape where even the legalization of same-sex marriage five years ago has not reduced or healed all of the emotional risks and scars associated with being out on the matters of love. Poking fun at the hijinks of going back to a conservative home for Christmas is one thing. Layering the very tangible anxiety of LGBTQ+ societal fears within those laughs is quite another. Happiest Season earns worthy pride for its willingness and openness to hug out that daunting task.
Read MoreSacha Baron Cohen, and a team of nine (yes, 9) other writers, resurrected his most successful and audacious disguise and snuck a production through the COVID-19 pandemic just in time for Election Day. His mocking aim matches Lesson #1. Through his hedonistic character once again gracing the U.S. of A., Cohen and company expose the problematic silliness of lies being lived to their fullest by fine people on both sides.
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