What replaces those external conflicts is internal angst from two men who aim to be more sensitive than competitive. Nothing’s really going to happen to anyone, outside of a touchy breakup or two, if they fail. That’s borderline character betrayal and counts as another miss. While a modern 21st century maturity against frank toxic masculinity was infused to be appreciated, there is an unmistakable edginess that is missing, top to bottom in White Men Can’t Jump.
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To Catch a Killer unravels to become one of those manhunt movies where the pursuit is better than the prize at the end. Wild Tales director Damien Szifron provides several platforms for the central law enforcement characters to pontificate the importance of what they are doing to stop the present public menace. The actors squeeze every bit of seriousness they can, and you believe their motivations and intentions. Yet, when To Catch a Killer reaches its climax and it becomes the hidden villain’s turn to reveal their intentions, the suspense shamefully evaporates.
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One True Loves has one of those paperback novel premises that can only seem to work as a screwball farce or a serious melodrama when brought to the big screen. Wouldn’t you know it, the movie is based on a book from New York Times best-selling author Taylor Jenkins Reid (Daisy Jones and the Six). The novelist was lucky enough to have the opportunity to adapt her own novel with her TV screenwriter husband Alex J. Reid.
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To say Showing Up is watching paint dry or, in the case, clay dry is far too mean. Quiet is one thing and introspective is another. Do you relish the glacial anticipation and personal payoff of creative culmination or are you just showing up to the art show at the end, as characters do here, for the wine and cheese.
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There was a measure of true cleverness possible in inserting a throwback maverick character into the present day. Paint wanted to bend a vibe with fiction and flexed too far, to a place where its main character would not survive personally or professionally in the first place. The surrounding characters chipping away at the fraud underneath Carl Nargle– an arc amusingly not all that different from the esteemed Oscar-nominated TAR when you really think about it– exposed nothing we could not already see for ourselves.
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All at once, this introductory mindset of dedication and gallows humor is both plucky and fatalistic. Exposing both curiosity and anxiety, Space Oddity inelegantly wrestles with those two prevailing traits. The realistic science fiction of its premise and the sunny gaze of the Rhode Island setting swirl up the whimsy. Lo and behold, we find out that quaintness has a limit when it comes to fulfilling the human condition.
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In a scant 76 minutes, Infinite Sea bravely approaches contemplative science fiction with a tiny budget for VFX (also managed by Aramal himself) and an aim for abstract and cognitive obstacles of the human condition. Much can be complimented in those crisply stylish attempts at big ideas and even bigger questions. Yet, it is hard to fathom the so-called infinite as having something missing, but a penetrative punch is absent. The bridled chemistry of the leads is what you will put your finger on to blame.
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So far, so good, right? Staying local and rooted in family dynamics would make for an ideal Ant-Man movie and an escalator out of the grief management arcs of Phase 4, no? Wrong. Unfortunately, with a cinematic universe spiraling in a zillion rudderless directions of multiverse lunacy, the Marvel machine will not stand for that. Enlisting awards show and Rick and Morty writer Jeff Loveness (bask in that pedigree), Ant-Man and the Wasp: Quantumania reaches so poorly with attempted relevancy.
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Familiar premises need a little wrinkle or twist to not be another retread. Thanks to Guess Who’s Coming to Dinner, Guess Who, the Meet the Parents franchise, and even the new You People, audiences have attended more than enough awkward meetings and dinners between contradictory parents trying to prevent a future marriage between their cherished children. Longtime Boy Meets World TV writer Michael Jacobs, making his feature directorial debut with a laudable cast, conjured an enticing sprinkle of spice towards this familiar setup with Maybe I Do.
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From Spencer Tracy and Sidney Poiter, forward to Ben Stiller and Robert De Niro, and even to the likes of Ashton Kutcher and Bernie Mac, you’ve seen the interesting proposition of You People and its kind of entertaining clash before. Though it was made in 2021 and bears the label of 2023, You People is about a decade late to its own civics rally. The topicality has come and gone. Kenya Barris’s film arrives almost immediately wrapped in a time capsule, one that few will meaningfully open in years to come without more significance to recognize and remember.
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When You Finish Saving the World stops right when an interesting alignment of merits could possibly begin. That ambiguous final moment of discovered courage and acceptance ends the journey at the point it should have begun. What you’re left with is that same decision mentioned earlier of deciding between bearable and unbearable feelings about incensed and outspoken people. Too often, the latter impression wins out.
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To press that feeble aesthetic further, the dramatic soap of Empire of Light is that everyone is cleansed when lovely cinematic journeys push viewers and servants alike to go out and get the life they want. Movie theaters are indeed an oasis of culture, a safe haven for friendship, and a shared glue of communal experiences. Can movies unlock repressed emotions for Hilary or improve her attitudinal state? Maybe and maybe not, but it’s quaintly nice to think so.
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