They may “play for the same team,” if you will, yet there is a rhetorical battle of divine wills and egos. Sizing each other up, there is zero agreement between the two, who could not be farther apart philosophically, politically, or personally. But, to see the respect, oh my, the respect, being shared is like a balm of hopeful covenant all its own. Powered by two impeccable performances, there is truly something marvelous to see these powerful men reach a true “meeting of the minds.” The Two Popes is available now streaming on Netflix after a brief theatrical run.
Read MoreDiving deeper beyond the basic “something that is final” meaning, the dictionary of this galaxy describes “finality” as “conclusiveness,” “decisiveness,” or “an ultimate act, utterance, or belief.” J.J. Abrams’ massive space opera follows his own The Force Awakens and Rian Johnson’s The Last Jedi to aim so very badly for those traits. In many peaks of scope and emotion, his movie achieves such finality. In others, overindulgence and disarray put question marks on the value or vindication of all this promised fulfillment.
Read MoreHere’s some newly-released follow-up bonus content my recent guest appearance on the CinemaJaw podcast, hosted by fellow Chicago Indie Critic members Matt Kubinski and Ryan Jagiello. When we recorded our reviews of Marriage Story a month before its Netflix debut, we entered spoiler territory for a segment to save for later. Well, later is now with Marriage Story going strong in its award season. In this new episode of CinemaJaw recorded at the glam headquarters of Cards Against Humanity, come for the Jumanji and Star Wars talk and stay for the Marriage Story “Spoiler Lounge!”
Read MoreKinetically engineered to simulate real-time, 1917 moves with a propulsive momentum like no other film of 2019 and no other combat flick of recent memory. Its velocity matches the unyielding pull of war itself. That compelling force defines a soldier’s moral sense of duty and keeps a man watching, trekking, running, fighting, and downright surviving. 1917 is all about that pull and concentrates its adrenaline into a relentless experience that will strafe your senses, from the hairs on the back of your neck to the fidgeting nerves that bounce your toes.
Read MoreAnyone who seeks to own this version of The Lion King is doing so with a “how did they do that?” curiosity. The technical brilliance is its biggest selling point. That interest is answered very well by this disc release. Unlike its Pixar and Marvel offerings, Disney compiled a legitimate look into this re-imaginings wholly revolutionary bells and whistles. This movie will look gorgeous on your high-end television at home.
Read MoreTwice in a month! On the heels of their monumental three-part 200th episode special (covering the true Indiana Jones trilogy), I returned to the Feelin' Film Podcast to close out the 100s with an underrated and underseen gem that all three of us loved. For Episode #199, Patrick Hicks, Aaron White, and me discussed the high values and movie merits of The Peanut Butter Falcon starring Zack Gottshagen, Shia LeBeouf, and Dakota Johnson. Earning five-stars from all three of us, this road movie stands as one of our favorites from 2019 that we hopes gains in appreciation and acclaim with time.
Read MoreThere is an old adage used by married people, kind of passive-aggressive burn really, that says “you can’t tie your shoes without me.” In a pithy way, the saying speaks to the symbiotic relationship between the partners for even the smallest things. While it may not always come down to shoelaces, there is a given and even understood level of dependency in marriage. That is until such dependency becomes harmful. In one of the finest films ever on the matter of divorce, Noah Baumbach’s Marriage Story challenges the breakdowns of resiliency and vulnerability that push this painful process.
Read MoreThe endearing brilliance of Little Women is earned in those quaint sways and movements as much as, if not more than, it is by its crests of high drama. With masterful leadership and bold thematic choices applied to well-worn ideals, Greta Gerwig continuously captures an uncanny vibrancy out of a literary setting that otherwise would be frozen in stagnant despair. Every fiber and morsel of this movie swells with this sense of spirit to embed radiance in resiliency.
Read MoreThis past week, I was pleased as punch to be a guest on the CinemaJaw podcast, hosted by fellow Chicago Indie Critic members Matt Kubinski and Ryan Jagiello. On Episode #447, all three of us just got out of Noah Baumbach’s Marriage Story and, boy, did we have feelings. As per tradition, the Top 5 segment was for each of us to list our best break-up, separation, and divorce movies. An extended trivia segment followed later centered on Tom Hanks. Enjoy their excellent show!
Read MoreFor James Mangold’s sterling sports film, take your thesaurus toolbox and dump out all the synonym wrenches for the word “hubris.” This is a thrilling race of arrogance as much as it is one of high-performance automobiles. The acts of vanity, audacity, chutzpah, conceit, cockiness, insolence, nerve, pomposity, and exceptionalism fill every metallic and non-metallic element. All of this tuned-up and torqued testosterone makes for a one hell of an entertaining show.
Read MoreThis new film is a wise and modest update to one of Disney’s best romances of its Silver Age. By utilizing actual dogs, many of which are rescued pets at that, with a mild computerized varnish, feels more tangible than fake in one of these Disney re-imaginings for the first time in a long time. This restraint of creative prudence is what defines its humble disposition and winning achievements. All year long, its mainstream blockbuster peers tried every costly artificial and technological height to be a blaring chorus of bells and whistles, when all that was really needed were some cute, real animals backed often by a swanky band.
Read MoreIn a film of perplexing puppetry like this, the most engrossing quality of Knives Out is character creation. Half of that strength happens on the scripted page where writer-director Rian Johnson has created a deplorable and decadent cobweb of villainy. The other half of that draw comes from the ingenuity of the assembled ensemble. This cluster of spidery characters could have been stock archetypes played by obvious actors. Instead, there’s nuance dripping like venom from thirsty fangs all over the performance stage of Johnson’s cinematic charade.
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