Viewers and fans will contemplate whether Black Panther: Wakanda Forever was the best Ryan Coogler and company could have done with their tragic circumstances. They will wonder if this pivot and royal escalation was the right approach. At some point, all of those questions (and others) have dual contexts between what they mean on-screen and off. Those questions also do not have a universal best, right, or perfect answer. For better or worse, we are now past “must” and the show emphatically goes on.
Read MoreThe merit of this story of formative failure can only be truly assessed by whether this teenage proxy of the filmmaker himself turned out alright after the credits roll and history continued forward. One can learn by failure only if they learn. Like the main character, the submission of the movie itself does not put forth enough fight for earned growth. If Armageddon Time is the sum total of James Gray’s regret, then it is a weak indictment that comes off little better than someone saying “I had a Black friend once.”
Read MoreFor better or worse, Martin McDonagh’s The Banshees of Inisherin is an unrelenting emotional tussle of stubbornness among men. Your tolerance level for such behavior will undoubtedly mix feelings and inform your experience. Some will relish in its afflicted dark humor while others will be ready to throw their hands up and beg for the clashing characters to get over themselves. No matter if you are engaged in the tailspin or irked by the whole ordeal, you will find plenty to be impressed with in this pitch black comedy and surefire awards darling.
Read MoreTo credit to the premise written and directed by former actor Nicholas Celozzi (The Legitimate Wiseguy), The Class extends pertinent issues and bold talking points. Any of them, on paper, could be found in a cross-section of teens today, making for a relatable dramatic experience for an open-hearted audience. However, there’s a limit reached in The Class where even the issues have their issues.
Read MoreIt’s a pleasure to watch the reunited Ocean’s series co-stars work together again. Admittedly, the two screen legends are more fun when they are at each other’s throats early on in Ticket to Paradise than later when they are cuddled closer together by rekindled circumstances. You root for the competitive one-upmanship more than the softening comeuppance their characters have coming. For a while, there is a sizzling and infectious comedic burn to their verbal clashes and invasions of personal space that wane with time. Who knew getting nicer would sap a little of the enjoyment?
Read MoreTill is a heartbreaking and meaningful film presented almost entirely through a mother’s point of view. Any mother of any background will tell you that one of, if not, the most ever-present emotions is worry. Debilitating considerations and worst case scenarios often percolate and betray otherwise happy thoughts and sweet moments. All too often, it’s a mental gear that cannot be easily turned off. One of those flustering pauses begins the film and an agonizing tone for Till is set right away.
Read MoreStay the Night plays out smarter than the usual rom-coms or “one wild night” movies of thrust-together strangers. Like its lead woman, it is reserved and far more realistic with its urban sauntering. In different and disinterested hands, the floozy-plus-dreamboat formula would be in full effect. There would be some zany impossibility or preposterous monkey wrench thrown into the narrative for excitement’s sake. All the conflict you need is right here–between its ears, in its beating heart, and within the held hands–of this gratifying and understated film.
Read MoreLike other semi-casual Vietnam war movies that have come before it, the action comedy journey of Oscar winner Peter Farrelly’s The Greatest Beer Run Ever streaming on Apple TV+ reaches a momentum where it has to switch gears. Inevitably, the happy-go-lucky circumstances have dissolved away to the honest truths and horrors of war. That’s a hell of a shift to pull off. The success of the movie boils down to when and how it executes or fails that course correction.
Read MoreThe controversial new film Blonde swirls surreal cinematic brushstrokes meant to express the hushed nightmares beyond the celebrity dreams of Norma Jean Mortenson and compose a reminiscent and heartbreaking portrait of the legendary star. The audiences’ applause of adoration is replaced by cries of anguish and pain often unseen by anyone. It is those tears that paint this film. For better or worse, those tears are what you now remember more than the smiles when it comes to Marilyn Monroe.
Read MoreNow, the varnish swirls with the dreamy deja vu vibes that are all over that old standard. In many ways, those two main verses of “Where or When” tell you all you need to know about the encroaching mystery to come. By the time Don’t Worry Darling calls back to “Where or When” again during its kaleidoscopic end credits, a smoky aftermath is exhaled from the intoxicating effects of the song and the film.
Read MoreOf all the subjective or objective metrics that get bandied about when rating a film, one of the more powerful traits that can make up for shortcomings is a movie’s inspirational effect. An impassioned audience with stirred emotions is very forgiving. Many large and small aspects about Gina Prince-Bythewood’s The Woman King could be debated or exposed as flaws. In the end, they will not matter. The story being told and the dedication collected to tell it carry weight greater than the art or craft.
Read MoreSo much of Confess, Fletch feels like a wiser-than the norm throwback against the hefty audience quadrant that will always prefer the louder, action-ified punch of the James Bonds and Jason Bournes of the world over a journalist gumshoe. If that crowd can slow down for a smaller and smoother ride, they will find mental thrills equally clever to the pop of blockbuster stunts that fade as quickly as they explode.
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