Call this a meandering musing, but it’s a tad quizzical how far apart the definitions of “mercy” and “mercenary” are despite their beginning spellings. There is not harming someone you have power over versus a soldier paid to fight for money. You won’t find those two words supporting the old “one hands washes the other” expression. Nonetheless, here in the new Netflix Chris Hemsworth vehicle Extraction one could wring a towel dripping with the unexpected mix of blood and suds. That makes for a messy and albeit entertaining proposition on the wiggle room to have mercy in a mercenary.
Read MoreIn true western, or in this case, bushranger movie fashion, the edgiest and most intense moments in Justin Kurzel’s True History of the Kelly Gang come in the moments when someone is being held at gunpoint. Drama properly peaks with the potential power released by one little curved metal lever hinging a mechanism of murder and mayhem. The action itself to squeeze that trigger is easy. The decision and ramifications, as we well know, are not.
Read MoreAdding more weight from the original movie’s message of finding internal happiness and not changing for others wouldn’t take much. With equal simplicity and symbolism, the felt of this dreamy universe for the sequel Trolls World Tour is upped to include heavy quilts, denim, leather, satin, velour, vinyl, and more. The multiplication of said textiles matches an appreciated boost in weightier themes. What is ready and primed to delight can also move body parts other than your hips and toes.
Read MoreI am starting to become convinced that there will never be a movie wedding that goes off without a hitch, as they say. It’s cinematically impossible not to have something, anything, or everything go wrong. But, that’s the fun of all those movies, including the new Netflix film Love Wedding Repeat. There is always comedy to be had when a springboard event of enduring love can survive in every cringe, surprise, fumble, flub, and fail executed by the doting newlyweds on down to the drunk ne'er-do-wells.
Read MoreThose posters clearly catch the eye, but once Coffee & Kareem attempts to evoke the promotional notion that it is worthy of standing next to classic giants like those three films as a homage or even as an lesser riff, it’s asking to bomb. When you fail, even intentionally, you become one more shitty cop movie from a generation ago. Does someone get an award somewhere from some lofty agency of aficionados when you make a shitty cop movie precisely as shitty as the old shitty cop movies this shitty cop movie emulates and remembers? Is that a Razzie or something else?
Read MoreBig as a billboard in some places and as small as a mobile ad in others, the marketing imagery of Star Wars: The Rise of Skywalker touts the tagline “The Saga Will End.” There’s something to be said for finality, especially with a 42-year-old franchise as venerated and cherished as this one. The virtues of remembrance, culmination, gratification, and other such lofty notions loom so much larger when an entity is billed to be the last of something important. The movie in disc form hits store shelves everywhere today.
Read MoreVivarium earns very positive credit for its premise and aim. Bending relationship dynamics of survival and gender roles around the middle class dreams of homeownership and building a family is, no question, both absorbing and ambitious. The social commentary is as frank as it is smartly bleak. The graying realities are well-masked by the colorful production dwellings. Their dreamscape trap of the Yonder development is rightly simplistic yet imposing.
Read MoreWhen you take a gander at Grace VanderWaal’s title character in Stargirl, you probably don’t think “unassuming.” The loud outfit seems goudy. The ukulele on her back reeks of ostentatiousness. And, by golly, that rat on her shoulder screams straight-up weird. Miraculously and sweetly, director Julia Hart makes all of this boldness as unassuming as possible, free of arrogance or pretension. The modesty of Jerry Spinelli’s hit source novel is intact and invigorating on this Disney+ original.
Read MoreBehind every political monster has a staff of underlings who have stories to tell and permanent stains on their resumes. More often than not, unless they are a featured mouthpiece or the eventual public whistle-blower, we don’t really see these people, even when we know they are there. Across the guarded podiums, pushy microphones, and invasive cameras are also the faceless by-lines of cub reporters trying to break stories and make a name for themselves. They too are dependent on the grinding political machine. Run This Town gives faces and voices to unfortunate minions and nobodies tied to the late and former mayor of Toronto mayor Rob Ford.
Read MoreIn what has become a signature term and evolving metric for this writer, the “Pixar Punch” remains more undefeated than any boxer. It is the animation studio’s “uncanny ability to absolutely destroy our hearts with raw and simple emotionality in perfectly calculated amounts and moments.” On the surface, Onward is a silly quest movie for the tabletop gamer demo that has been cast into a March abyss instead of gleaming in Pixar’s annual mid-June tentpole throne. In actuality, this funnybone-slaying riot gives way to the kind of heart-rending climax that proves the Pixar Punch keeps manifesting itself in more and more unexpected places.
Read MoreIt is very relevant and very opportune how the true-to-life main character’s last name fittingly became a perfect title for this kind of movie. Call it telling. Call it fate even. One could also call it a warning. Burden is as dramatic and uncomfortable as the many layers of the namesake word itself. The winner of the U.S. Dramatic Audience Award at the 2018 Sundance Film Festival finally makes its theatrical bow nearly two years after its praised debut.
Read MoreLike it or not, there’s something carnal and entirely compelling about voyeurism. From trainwrecks to Peeping Toms, gazes can be easily fixated by the energy of those moments. There is an addictive draw that can be interest, mystery, surprise, titillation, or all of the above. The invasive level of wrongness in watching something you are likely not meant to see is measured by what one is doing or getting out of these observations. That’s a bit of the hook of The Night Clerk which allows a little gray hue on that potential wrongness.
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