I welled up watching this movie many times. I found it deeply stirring to watch that wonderful woman walk determinedly across the field of battle drawing the enemy’s fire and standing up strong before the hellfire of bullets. She cannot be stopped.
Cate Blanchett is one of our finest actors, and it’s delightful to see her embody these manifestos. The film is as much a celebration of acting as it is of artistic declaration.
Prometheus made its points with heavy, expository dialogue, while Covenant carries the themes forward through action and subtle, quick references.
This style is reminiscent of the 1950s, the period in which Harold and Lillian’s romance and careers were solidified. They are members of the Greatest Generation. To watch their story is to learn from the example of our elders. We have much to learn.
The Emma Watson-starring The Circle plays with these same ideas, nodding to questions about public presentatio,n how whether or not privacy is either possible in this always-connected present, and if we really want privacy anyway.
A Quiet Passion is a plaintive film, but because of Davies’ inventiveness and Nixon’s performance, it is also exciting if you’re the kind of person who finds fine filmmaking itself thrilling to watch.
The long take also underscores Haim’s remarkable musicianship.
Eschewing plot, the you might think the filmmakers—writer Amy Jump and writer/director Ben Wheatley—would people their nearly plotless film with rich characters instead. Not so
In Colossal, Seoul, South Korea, gets metaphysically involved in the self-destructive habits of a woman named Gloria.
I am a film snob. For the past sixteen years, one sign of that snobbery was having never seen any of the Fast and Furious movies. The shallow stories of fast cars, scantily-clad women, and outrageous action scenes didn’t seem worth the time. Then, Doris entered the scene.
The search for reasons to find Z fatigued me and left me ready to give up on the notion of the city of Z with some of Percy’s crew. However, my disposition changed after one of the WWI scenes.
The Ticket is sure-footed at every step. It’s not a showy film. It’s competent, and it is content to be so.
The highlight of the movie is Takeshi Kitano’s weathered task force leader “Aramaki.” He’s weary of the bureaucracy, the secrets, the casualties, the questions. His countenance fits the mood of the narrative better than Major’s. She sulks. He sighs.
In Song to Song, Malick turns to Proverbs and follows a few characters as they search for wisdom itself and avoid and fall into various traps along the way.
Wilson’s need to be needed is palpable. He wants people to approve of him for who he is in all of his prickly, ungainly, glory.
Adding this new material to the story does make the movie feel a little long, but the added character information is welcome…
A new creative team goes back to the well for Kong: Skull Island. Other than the two elements of its name – Kong and the island – they’ve made the rest anew.
Some have called Logan the “Dark Knight” of the Marvel adaptations. Are these films really comparable?
In interviews about the film, Mangold has stated his thoughts on the similarities between Cash and Logan. He uses the Man in Black’s music to reinforce this comparison, even playing Cash’s book-of-Revelation-inspired “The Man Comes Around” over the end credits.
The footage featured in The Road Movie mostly consists of crashes. Lots and lots of crashes. Industrial trucks tip over. Cars careen across the icy Russian highways. Buses explode. Tanks try to go through drive in car washes.
I also love the way the film depicts a faith that is at once private and communal, ingrained and somewhat alien. The scenes of Ola coaching Nikodem on his catechism or of Nikodem talking to a priest before going to confession, are suffused with humor and a touch of warm absurdity.