So far, so good, right? Staying local and rooted in family dynamics would make for an ideal Ant-Man movie and an escalator out of the grief management arcs of Phase 4, no? Wrong. Unfortunately, with a cinematic universe spiraling in a zillion rudderless directions of multiverse lunacy, the Marvel machine will not stand for that. Enlisting awards show and Rick and Morty writer Jeff Loveness (bask in that pedigree), Ant-Man and the Wasp: Quantumania reaches so poorly with attempted relevancy.
Read MoreFollowing in the transcending footsteps of Greta Gerwig’s Little Women, award-winning actress Frances O’Connor makes her feature debut as a writer and director with Emily to blend biographical notes with envisioned dramatic license. Before her acclaim on the printed page, Emily Brontë was a lover, a sister, a daughter, and an independent woman of turmoil and ache. Anchored by a stirring lead performance from Emma Mackay, O’Connor’s emotive film seeks to flesh out that very soul.
Read MoreFrankly, a polished movie like this one, from the clean sets to the ominous Clint Mansell score, would have been relished in that fondly remembered mid-1990s marketplace of star-driven movies marketed for adults. Mature and malicious while skirting the line with a dash of kink, movies like Sharper don’t get made enough nowadays. Enjoy its casual boldness.
Read MoreTo a degree, Somebody I Used to Know carries a bit of the same vein of misaligned praise and creativity. We have two lifelong Southern Californians (Franco of Palo Alto and Brie of Hollywood) pretending to lay out a pre-midlife crisis scenario in a setting far from their own. That said, there is a range of characters and grasp of relatable poignancy in the film coming from David and Alison that show how setting matters little when you have interesting people.
Read MoreFamiliar premises need a little wrinkle or twist to not be another retread. Thanks to Guess Who’s Coming to Dinner, Guess Who, the Meet the Parents franchise, and even the new You People, audiences have attended more than enough awkward meetings and dinners between contradictory parents trying to prevent a future marriage between their cherished children. Longtime Boy Meets World TV writer Michael Jacobs, making his feature directorial debut with a laudable cast, conjured an enticing sprinkle of spice towards this familiar setup with Maybe I Do.
Read MoreFrom Spencer Tracy and Sidney Poiter, forward to Ben Stiller and Robert De Niro, and even to the likes of Ashton Kutcher and Bernie Mac, you’ve seen the interesting proposition of You People and its kind of entertaining clash before. Though it was made in 2021 and bears the label of 2023, You People is about a decade late to its own civics rally. The topicality has come and gone. Kenya Barris’s film arrives almost immediately wrapped in a time capsule, one that few will meaningfully open in years to come without more significance to recognize and remember.
Read MoreWhen You Finish Saving the World stops right when an interesting alignment of merits could possibly begin. That ambiguous final moment of discovered courage and acceptance ends the journey at the point it should have begun. What you’re left with is that same decision mentioned earlier of deciding between bearable and unbearable feelings about incensed and outspoken people. Too often, the latter impression wins out.
Read MoreThe latitude was there in Alice, Darling to have characters become completely destroyed in more shocking and titillating fashions. Many movies circling abuse go straight to stiffer physical variety with bolder and wilder narratives. Mary Nighy and Alanna Francis took on a more unique challenge to expose the coercive side that lacks tawdry bloodshed. Their result hurts plenty in its own right and succeeds to seek higher healing.
Read MoreYet, we forget about Tom Hanks, “America’s Accomplished Actor.” We forget the two-time Oscar winner wears that very shiny sash as well. When committed, and it’s hard to cite a movie or role where he isn’t, he can convince us of any emotion, behavior, portrayal, or story arc. Hanks pulls off that kind of magic with A Man Called Otto for Finding Neverland and World War Z director Marc Foster. We root for the charmer, even when we know the charmer is there inside of something repulsive.
Read MoreDeep down, all movies are passion projects for the people that make them. Sometimes, it is difficult to see that passion come through fully in the finished film. Uninspired moments, pretentious indulgences, shortcuts of effort, or even the limits of ambition will dilute the fervor of how the given movie came to exist. To that end, the rarer feat is a film that never, even for a second, loses or runs out of its passion. S.S. Rajamouli’s RRR is one of those special movies.
Read MoreTo quote the well-worn expression used in many frank judgments of character, “I didn’t think he had it in him.” Be ready to color yourself surprised. Thanks to heightened stakes and those aforementioned honest themes, Puss in Boots: The Last Wish gallups beyond the flashy shell of a cash grab sequel opportunity for Dreamworks Animation. This valuable new journey massages and improves the mettle of this excellent character without losing a whisker of derring-do.
Read MoreThe audience’s constitution will be the deciding factor on Babylon’s wide gamut of pungent engagement and raging spectacle. This juxtaposition of the carefree and zany with the dirty and dark underneath can very easily be too much. Any twinkling enchantment is met with bracing hardness. Any gleaming art is met with harsh repulsiveness. Extend this blaring back-and-forth of lift and defeat for over three hours, and Babylon can be as exhausting and unfocused as it is impressive. Good luck coming down from that high or out of that fog.
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