Slotted with a self-important story to tell that takes place after the events of 2016’s Captain America: Civil War, this prequel arrives with a better-late-than-never party invitation of hype. Boasting some of the best melee work in a Marvel film, Black Widow belongs on the big screen and displays gratifying action sequences that rightfully highlight powerful females worthy of the spotlight. It also belonged in front of our eyes five years ago and not now. There is an unshakable magnitude of foregone conclusions that curtail the upper tier of potential excitement.
Read MoreCruella tosses that “psycho” term and label around flippantly, even with its successful motivation to be interesting and darker than the usual live-action works from the Mouse House. It offers a villainess to believe in, but what does that say to audiences? Swinging for sympathy towards the amoral could have amounted to the same mistake as Maleficent seven years ago. Luckily, the conniptions and confrontations of “Emma vs. Emma” are damn fun. There’s a welcome place to relish in their wickedness.
Read MoreAs if there was any doubt, it doesn’t take any wider eyes than those capturing the plebian pageantry on display to recognize the meaningful platforms symbolized by In the Heights. Characters that assert their dignity in small ways amplify messages with larger substance. The settings and themes of Chu’s film are made all the more important and prescient by our country’s current socio-political times. A 14-year-old musical has not lost an ounce of power in telling the world of an undoubtedly eminent cross-section of American culture that is here and not invisible any longer.
Read MoreWithin the movie, the themes all surround help that comes from lifted spirits found in many walks of life, both personal and professional. On the performance side, the material is solid enough to matter more than mere bits, yet light enough to spread its wealth of charm. No one is scene-stealing because no one has to, and that’s quite a tall order with the presence of Tiffany Haddish sharing the billing. Everyone is making the same music, so to speak, with Billy conducting every measure.
Read MoreAt first glance, be it the poster of car-riding mayhem or a closer look at the textured exaggerations of the animation style amid the slick futuristic adversaries, a title like The Mitchells vs. The Machines from Netflix likely evokes shades of Scott Pilgrim Vs. the World stirred with a scoop of Clark Griswold-like shenanigans. That’s a fair read, yet there’s, of course, more to it than that. Believe it or not, there’s some finger-wagging and heart-affirming family truthfulness within the zany scribbles.
Read MoreThis is the fifth husband-and-wife/director-and-star collaboration between Ben Falcone and Melissa McCarthy. Sure, the Frank Sonnnenberg saying of “If work isn’t fun, you’re not playing on the right team” applies to this ensemble. Everyone’s clearly having fun but the “because I’m fun” lines aren’t enough this time. Once again, we’ve seen these “think before you act” and “don’t get carried away” manchild pleadings too much outside of superhero costumes to be duped into enjoying them just because they’re now clad in muscular leather and special effects.
Read MoreGive the determined and reinvigorated 300 and Watchmen director four-hours, extra millions, and full creative control and you get this kind of beefy result. Zack Snyder’s Justice League builds the saga both the audiences and characters deserved four years ago. Nearly every artistic and technical layer moves with a different beat and flourish. Even with the problematic precedent this whole odyssey set into motion from a fan outrage/support standpoint, this new result is a positive testament to what this second attempt means for and earns both the creators and the consumers.
Read MoreBut the “lies” work because memorable stories dazzle and impress eyes and hearts at the same time. Nestled in a completely foreign realm of magic and myth, the real-life parallels woven into the high fantasy of Disney’s Raya and the Last Dragon couldn’t ring louder or truer if it stole every bell in the record-holding Christ Church Cathedral in Dublin. The movie hits the premium tier of Disney+ on March 5th.
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 MoreTo borrow a term from the great Stan Lee, there are casual comic book fans and then there are “true believers.” The latter never miss an issue of their favorites and, even greater, walk through life inspired by the heroic pillars written in and drawn through those page-turning panels. In the new Disney+ film Flora & Ulysses, we are graced by one of those true believers in a film that has its cape hung up out of sight, tights put away in drawers, and heart smack dab in the right place. The film opens on Disney+ on February 19th.
Read MoreDirector Shaka King and his co-writer Will Berson, both prior specialists of television, have penned and lensed an appropriately audacious feature film debut that deserves reverence and reaction. Through it all, there is tangible grizzled inspirational force to watching the agitators humanize and refine their plight. To hell with any “product of its era talk” because this is a crusade that many will cite as ongoing today with much of the same potency. Taking much deserved latitude, Judas and the Black Messiah does not beat around a single bush with where the antagonistic blame belongs.
Read MoreThe Mauritanian presents a compelling case in the opposite direction to all those oorah roars. Shedding cinematic light on a staunch case of injustice tangential to those fateful 2001 events, this film has the unenviable task of proving its story’s importance in spite of the egregious systemic flaws it chronicles and exposes. You don’t have to go as far back as slavery or colonization in national history to know how most triumphantly-inflated Americans don’t want their noses rubbed in their heinous mistakes. The treatment of Mohamedou Ould Salahi is one of them.
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