One Cut of the Dead is abstract in the best way possible. Often times a film that subverts a formula can feel like its only serving that purpose, but the several layers to this story are what make it such a blast to watch.
How can something that’s supposed to be so magical feel like so much work to get through? Fantastic Beasts: The Crimes of Grindelwald is a very difficult-to-follow sequel to 2016’s Fantastic Beasts and Where to Find Them.
Incredibles 2 does far and above what the last film accomplished.
The tone never feels locked in. Luckily, Bohemian Rhapsody finds those sensibilities again in the end.
Criticism of music is interesting because people’s tastes differ so much and there’s a vast discrepancy with what everyone likes.
But the particular and very specific movement talked about in Mid90s is sort of an amalgamation of the philosophies of both the aforementioned.
On paper, you can tell exactly where Green Book is going. It’s essentially a story of a white man who drives around a black man in 1962’s deep south. Prior to getting the gig, the white man, Tony (Viggo Mortensen), has his prejudices about black people. Can you guess what’s going to happen next?
Like a comedian having to explain the joke after telling it, Spike Lee apparently felt like he needed to punctuate the movie in order to exclaim what his point was. But I ask you, then what was the point of watching the movie in the first place?
If you’ve ever wanted to watch movie about broken love set amidst the backdrop of the geopolitical tension in 1950s Europe, look no further than Pawel Pawlikowski’s Cold War.
The best fugitive movies are the ones where the runaway and the cop chasing him have a sort of relationship or unspoken respect for one another.