It wouldn’t be surprising if you only know of the film Roman J. Israel, Esq. because the poster features the back of Denzel Washington’s head. It’s understandable. It’s not as if the name is particularly catchy. But Roman J. Israel, Esq. is the second directorial feature from Dan Gilroy, the man behind Nightcrawler and the scripts of such films as The Fall and Bourne Legacy.
For someone who appreciated Nightcrawler, it is not unreasonable to anticipate good things from Gilroy’s follow up. Don’t be fooled. Roman J. Israel, Esq.—and I only keep reiterating the name because we are reminded of it time and time again in the film—is not Continue reading Roman J. Israel, Esq. (2017) Movie Review→
On the eve of World War II, Laura (Carey Mulligan) is courted by engineer Henry McAllan (Jason Clarke) in the Mississippi Delta. Although Laura is more charmed by Henry’s brother Jamie (Garrett Hedlund), she marries Henry and they raise two children. Henry buys a farm (more precisely, he’s swindled and the family is relegated to a meager shack that is characterized most readily by the puddles of mud in the yard that never dry up). This farm employs the Jackson family, led by pensive Florence (Mary J. Blige) and Hap (Rob Morgan) Jackson.
When America is drawn into the war effort—Roosevelt’s infamy speech marks the act break—Ronsel Jackson (Jason Mitchell) and Jamie are called on to serve. When they return to the states, inevitably changed, they face Continue reading Mudbound (2017) Movie Review→
There is a moment at the very start of Jim & Andy: The Great Beyond – Featuring a Very Special, Contractually Obligatory Mention of Tony Clifton where you expect this to be a pretentious showbiz doc, where Jim Carrey stares at the camera and tries to convince us in one line that the soul of Andy Kaufman embodied him when he got the job as Kaufman for the Milos Forman film Man on the Moon.
The headline way to start this review is to say something along the lines of “Justice League is a garbled mess of a film with no notion of subtlety.” It wouldn’t be a false statement.
The teenage bildungsroman is a common narrative formula. Lady Bird, Greta Gerwig’s directing debut (she also serves as screenwriter), may be another addition to the list, but it does not feel like another tired addition. If anything, it exists in this long line of coming of age films as as much of a standout as the film’s eponymous role: a personality so bold and big but also honest that it demands to be taken on its own merits.
Bedeviled is the type of teen horror film that thinks it’s being clever. It thinks that it is in on the joke. It thinks its making a joke. The only thing funny about it is the laughable screenwriting and nonsensical internal logic. Beyond that, I don’t know what directors Abel Vang and Burlee Vang were going for.
Imagine a world where teenagers are hooked on the latest hip app, which is essentially an evil Siri. Only, it’s name is Mr. Bedevil and he holds full sentient conversations with the characters in the film, who do not even begin to Continue reading Bedeviled (2016) Movie Review→
There is a moment early on in Daddy’s Home 2 where Will Ferrell’s character walks into the house after he and his “co-dad” Dusty (Mark Wahlberg) pick up their fathers (John Lithgow and Mel Gibson) at the airport and exclaims: “We’re back…with more daddies.”
In Murder on the Orient Express, Kenneth Branagh directs Kenneth Branagh as Agatha Christie’s famous detective Hercule Poirot. The film informs us of his reputation by opening with Poirot solving a crime in front of an abundant crowd, as if he is the main attraction at a circus. In case this was not enough—and because the script felt the need to address its own ludicrous facial hair creation—Daisy Ridley’s Mary Debenham recites her first line in the film thusly:
If you ever wanted to hear Lyndon Johnson (portrayed here by Woody Harrelson) discuss the hang of his testes, Rob Reiner’s LBJ is the film for you. The subject comes up twice, showing up again near the end as if it is a brilliant comedic callback meant to elicit hoots and hollers.
Rare are the films in which the atmosphere is disquieting from beginning to end. People will tell you that The Killing of a Sacred Deer isn’t a horror film. But there is no closer word to describe it. It is a film that is horrifying without an abundance of horror tropes. It is unsettling to a fault. It is the most unsettling film of 2017, perhaps.
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