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Among his peers and contemporaries, David Fincher conveys a commanding control of fluidity that few filmmakers can rival in this day and age. His stringent melding of staging, cinematography, performance outcomes, editing, and music rarely, if ever, stumble or loiter. Fincher’s mise-en-scène is an authority of total precision, arguably second to none. He simply doesn’t miss his marks, which makes The Killer and its propulsive narrative about a rare and fatal mistake so much more fascinating.
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NYAD is the film adaptation of that incredible feat recounted in Diane’s autobiography Find a Way. Four-time Academy Award nominee Annette Bening is playing the title subject alongside two-time Oscar winner Jodie Foster as her friend and coach Bonnie Stoll. This true chronicle lends itself to a sports movie’s narrative flow and swell of dramatic license, yet NYAD was made by a pair of Oscar-winning documentarians– the Free Solo husband-and-wife directorial team of Elizabeth Chai Vasarhelyi and Jimmy Chin– giving it a purposeful backbone of authenticity to push some of those tropes to the side.
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For better or worse, that’s a microcosm of the entirety of Martin Scorsese’s Killers of the Flower Moon. As helpful as Robertson’s plucked metronome is to fill voids and create a foreboding cinematic heartbeat, your own pulse rate ends up matching that placidness. No matter what heinous deception, jarring murder, or well-appointed finery appears on screen, very little in the film intensifies or accelerates beyond that methodical drowning dirge.
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The linchpin of Foe becomes Saorise Ronan. With a strong and near-Method effort at being constantly jaded and exhausted, Paul Mescal impressively spends the majority of the film withering in the wringer he’s sent through by Terrence. He’s going for broke. Meanwhile, the real palpable depth of Foe comes from Hen’s female perspective. Since the beginning of the film opened on her crying in the shower, our perception of Hen has been the bigger question mark than the stranger Terrence.
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For all of these reasons and more, we can be pleased and entertained that The Burial is here on Amazon Prime Video. Matching Lesson #2, it’s as stock and formulaic as it comes within the courtroom drama subgenre. Hot damn, that’s going to work every time. Within the formula, the heart and spine of the narrative will always be the two biggest ingredients. The backbone is a compelling case, and the beating pulse is the people embroiled in the affair.
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How did this all happen? What can tear apart a marriage? Most folks go straight to the tawdry daytime talk show topics of money and infidelity, neither of which are anywhere close to the catalysts in Black White and the Greys and there’s zero crowd to watch it all go down. Rather, the frost seeping into the cracks of the Grey family lies in a growing divergence of intellectual contrasts and moral conflicts.
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True to the sharp storytelling adage of “show, don’t tell,” Fair Play from writer-director Chloe Domont heightens its drama with these featured stares because you imagine the thoughts or predicted words before they are performed. Oftentimes, a viewer’s imagination can get riled up even worse than what is shown on-screen. The wallop of that effect is the characters will get their releases, retorts, and replies, but the audience members– short of shouting at the screen or clutching their armchair partner– do not. With sly effectiveness in hanging on every stare between the words, that’s how a movie like Fair Play gets you.
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Outlaw Johnny Black is a unique genre experiment that knows damn well what cookie cutter it’s using. Led by star Michael Jai White stepping into the director’s chair, these are the people that made the hilarious blaxploitation cult classic Black Dynamite 14 years ago. Yes! Go ahead and drop a Jules Winfield reply to that news. With a clenched fist and a tongue in its cheek, White and company are here to emulate and embellish the best and worst qualities of westerns by making a cool one of their own.
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On this remarkable journey, the core always remained on the people more than the spectacle. Call this kind of movie sweet, simple, and old-fashioned, but there’s a dearth of entertaining movies like A Million Miles Away fit for families and classrooms. There’s not a second where this film’s heart is not in the right place, and this school teacher will take these submissions every chance he gets.
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Facebook is the main place that I’ve come to know and commiserate with Kenan Cross, part of the Culture Junkies network of genre-loving content creation. Their YouTube channel and Twitch presence are outstanding. In their brand’s Facebook group, I play “the ringer” as the vetted and RT-approved film critic surfing in the discussion thread. Kenan invited me on recently to talk with his squad all about that work landscape during a time when the “critics vs. fans” debate couldn’t be higher
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Superman Web3 Movie Experience is a multimedia NFT for fans to own and to engage with the 1978 Richard Donner film Superman: The Movie in an exciting way. Through dynamic menu options based on iconic locations from the film, owners can watch the film in 4K UHD on desktop, mobile, tablet or TV, access special features, view image galleries and artist renderings by notable DC artists, discover digital easter eggs, as well as sell the experience in a community marketplace.
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