Category: Movies
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The Hunt is weak tea, at a time that calls for strong coffee
I watched Craig Zobel’s The Hunt mostly out of curiosity, to see what the red hats were so worked up about. Turns out it is not what today’s generation of American fascists assumed, but neither is it otherwise. There is potential for satire somewhere in the premise, but it’s too confused and unfocused to be…
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Interstellar is a yet another time twisty Nolan scenario
The torturously complex premise of Christopher Nolan’s Interstellar requires a constant stream of exposition throughout, something I don’t recall being a problem in the director’s other time twisty scenarios like The Prestige and Inception. It’s also less emotionally urgent than either, perhaps indicating that the high-concept structure overwhelmed everything else. If Coop (Matthew McConaughey) —…
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What are men, compared to rocks and mountains: Pride & Prejudice
Who doesn’t have great affection for the beloved 1995 BBC adaptation of Pride and Prejudice? But: I daresay Joe Wright’s 2005 feature film adaptation (the one with the ampersand) is my P&P. It may be less faithful to the text, but that’s fine; it’s its own thing. It’s delicious and I adore it. I think of it…
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Elisabeth Moss has a villain problem in The Invisible Man
For a movie named after the antagonist, Leigh Whannell’s The Invisible Man has a villain problem. At one point, Cecelia (Elisabeth Moss) asks an interesting question: her husband is famous and wealthy, and can have anyone — so why her? In one question, she essentially admits her longstanding insecurity at having a handsome rich man…
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Brad Pitt works out his daddy issues in space, in Ad Astra
Maybe this isn’t fair, but I couldn’t help but associate Ad Astra with Joker. If Joker is a shallow remix of Taxi Driver and King of Comedy, Ad Astra is a bland smoothie of Solaris and Apocalypse Now, with a cavalcade of stars you may remember from Space Cowboys and Armageddon. I half expected Harrison…
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Terminator: Dark Fate is a trashcan of exposition
Criticizing the plots of popcorn action blockbusters is usually a fool’s errand. Nobody cares if Hobbs & Shaw makes any sense, but surely it’s fair game in the Terminator franchise, where untangling pseudo-scientific time travel logic is 99% of the fun. So the biggest disappointment of Dark Fate (other than its singularly unmemorable title, and…
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Jim Jarmusch’s The Dead Don’t Die is an unaffectionate homage
I guess it shouldn’t be surprising that Jim Jarmusch would make a zombie movie, since he’s already cycled through idiosyncratic interpretations of westerns (Dead Man), vampires (Only Lovers Left Alive), samurai (Ghost Dog), and thrillers (The Limits of Control). But unlike these, The Dead Don’t Die reads as an unaffectionate (or to coin a word,…
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1917 is not the first single-take movie, but it’s one of the best
Every review or casual comment about 1917, from pan to praise, will all begin with the same undeniable fact: it’s an astounding technical achievement. While far from the first apparent single-take feature-length film, it’s certainly one of the most seamless. Better, the feat is partially insulated from charges of gimmickry in that the structure derives…
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De Diro and Pacino dunk their scrapple in Guinness in Martin Scorsese’s The Irishman
Why am I reluctant to publicly pan one of the year’s most acclaimed films? What am I afraid of — being labelled a cinema rat, and getting whacked by a couple of film geeks? It took me years and years of being a film buff, through film school and beyond, for me to realize that…
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Star Wars: The Rise of Skywalker smothers all hope and wonder
My brilliant wife had the following absolutely perfect appraisal of the first two entries in the new Star Wars trilogy, which I will paraphrase here: “Most of the criticism of The Force Awakens was absolutely correct, but I loved it anyway. Most of the criticism of The Last Jedi was absolutely wrong, but I loved…