Since Monsters, Inc., Up and Inside Out director Pete Docter doesn’t directly hide his envoys of empathy anymore. Honest-to-goodness people are once again front-and-center in his newest film, Soul, coming to Disney+ on Christmas Day. Its people may get magically spun into spectral vessels moving through a very uniquely manufactured system of the heavens, but they’re still humans being human. That said, with Soul, Pixar finally goes all the way with its streak. They evoke existentialism head on.
Read MoreA skeptical label Sylvie’s Love might receive is being called anachronistic. Such a descriptor is a compliment not a hindrance. In fact, it would be disappointingly out of place if Sylvie’s Love was anything less than properly rooted right where it is as a pseudo-time capsule. Ashe isn’t trying to insert a progressive modern agenda with revisionist history for current appeasement. The desire was a period romance with sweep, ambiance, and gloss. The look of the era and the look of love are all there.
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 MoreThe narrative scope of playwright August Wilson’s Ma Rainey’s Black Bottom is a setting of Black performers sharing their collective experiences in life that now go into their music. There is a precarious pendulum of friendly diatribes and combative challenges between the traveling band members of the titular “Mother of the Blues.” Their forum may be a lowly basement rehearsal room, but the expanse of their descriptive histories reaches generations farther than mere geography.
Read MoreThere is a very good chance that “shocking” will be the first and most basic reactionary word to come out a viewer’s dropped jaw after seeing Promising Young Woman, the holy-f—king-shit movie of 2020. If someone isn’t shocked, there’s something wrong with them. If anything, the predicament of self-examination will be which condition of shock they’re carrying as they come down from the buzz of this movie.
Read MoreMany existential movies that kick around the questions of life, death, and afterlife dangle the idea of revision. From It’s a Wonderful Life to The Tree of Life, characters alive, dead, or somewhere in-between are presented visions or exercises of how their lives could have been different with wholesale changes or tangential opportunities. Those musings often steer them to accepting their life as it was, pitfalls and all. The new drama Wander Darkly from Tara Miele working the festival circuit goes there not with an eraser, but with a red pen instead. Channeling my school teacher day job, Wander Darkly, in an interesting way, is about proofreading life more than revising it.
Read Moreby Lafronda Stumn
As busy I get from time to time, I find that I can't see every movie under the sun, leaving my friends and colleagues to fill in the blanks for me. As poetically as I think I wax about movies on this website as a wannabe critic, there are other experts out there. Sometimes, it inspires me to see the movie too and get back to being my circle's go-to movie guy. Sometimes, they save me $9 and you 800+ words of blathering. In a new review series, I'm opening my site to friend submissions for guest movie reviews.
Read MoreNews of the World feeds off those carefully selected extra points of emphasis. You have Tom Hanks in his first western, and playing his true mid-60s age no less, for a change. He portrays a character who speaks with a keen sense of dramatic effect for his listeners. The actor and character occupy a movie that strives well to stay natural with believable aesthetics that are never gaudy. It’s grit without grittiness, and there’s a place for that in the western genre where not everything has to kick like 100-proof frontier whiskey.
Read MoreUnfortunately, this moment of the borrowed title song getting its proper spotlight is the rustic crest of this movie. Wild Mountain Thyme tries so hard to climb higher. Its romance is constantly saddled with blindness that misses the point of the lyrics. It’s as if the refrain of “will ye go” in the song is stuck by the living embodiment of “s--t or get off the pot” instead. There’s real beauty there, it’s a shame the movie didn’t have it other than the scenery. In the words of one of Ireland’s ancient language, dia ár sábháil!
Read MoreHumanity rightly becomes the beautiful and ruminative zenith of The Midnight Sky. It occupies a reality that could match the here-and-now as much as it defines its fictional future when addressing the helpful and harmful effects of both minute and broad human actions. Clooney’s combined work on this drama is forthright with its altruism and free of forced villainy. True to the earlier introduction, this experience to be cherished rises to be about character more than crisis, which is where poignant performances take over. Their benevolence is mesmerizing and their endurance beyond is moving.
Read Moreby Lafronda Stumn
As busy I get from time to time, I find that I can't see every movie under the sun, leaving my friends and colleagues to fill in the blanks for me. As poetically as I think I wax about movies on this website as a wannabe critic, there are other experts out there. Sometimes, it inspires me to see the movie too and get back to being my circle's go-to movie guy. Sometimes, they save me $9 and you 800+ words of blathering. In a new review series, I'm opening my site to friend submissions for guest movie reviews.
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.
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