Luce Edgar (Kelvin Harrison Jr.) is a specimen of excellence, a future model citizen. A high schooler on his way to a prominent career in whatever he pleases, Luce is charismatic, intelligent, athletic, a quiet leader, and an ace debater. He has the ability to convince others that what he is saying is correct. The audience included, perhaps.
When history teacher Harriet Wilson (Octavia Spencer) presents to Luce’s parents (Naomi Watts and Tim Roth) a paper Luce wrote in the voice of Frantz Fanon, an anti-colonial revolutionary that argued for the necessity of violence to fight colonialization, his ideal character comes into question.
Good Boys is the film for people who think preteens swearing and misunderstanding the sexual themes around them is hilarious. If you want to see tween boys wielding sex toys as weapons or giving a sex toy as a gift or using a sex toy to practice kissing or barring doors with a sex toy then this movie is for you.
The short story series created by Alvin Schwartz and illustrated by Stephen Gammell, which begins with Scary Stories to Tell in the Dark, is beloved by some, infamous to others. Ostensibly a children’s book of campfire folk tales retold, the book often received criticism for Gammell’s illustrations, these shaded sketches of wispy, gangly, grotesque creatures and corpses.
As a child, these illustrations fascinated me, and they still hold up for me today as being some of the best art in children’s books. (Also high on that list would be Brett Helquist’s cover art for the Series of Unfortunate Events books. Interestingly enough, Helquist went on to do illustrations for the re-release edition of Scary Stories in 2011. People were understandably unhappy with the changes, but the art is still good in its own right).
Honor Swinton Byrne is phenomenal in TheSouvenir. The film from Joanna Hogg presents a coming of age story for Swinton Byrne’s Julie, who is in the process of making a feature for film school. If you don’t recognize Swinton Byrne’s talent by this late juncture of the film, then you will see it when she looks directly at you, through the camera, following filming a take of her own. It is a shot that really shouldn’t be this powerful. It is too reflexive, too direct. But Swinton Byrne carries the weight of the film that has played out before her, and she puts that weight on you when she goes direct-to-camera.
Julie’s relationship to the audience may be as fraught as her romantic relationship with Anthony (Tom Burke) is. For one, it becomes increasingly hard for Continue reading The Souvenir (2019) Movie Review→
“Talk about a dream, try to make it real” reads the epigraph that begins Blinded by the Light. It is a lyric from Bruce Springsteen’s “Badlands:” “I don’t give a damn for the same old played out scenes. I don’t give a damn for just the in-betweens. Honey I want the heart. I want the soul. I want control right now … Spend your life waiting for a moment that just don’t come. Well, don’t waste your time waiting.”
1978, Hell’s Kitchen. Three Irish gangsters (James Badge Dale, Brian d’Arcy James, and Jeremy Bobb) get arrested following a police sting and are sentenced to three years in prison. Their wives (Tiffany Haddish, Melissa McCarthy, and Elisabeth Moss) are effectively cut off from their source of income. Their mob ties start short-shrifting their cash kickback. Kathy Brennan (McCarthy) tries to get work, but she is turned away because she has young children.
Look. I could begin this review by telling you that Luke Hobbs (Dwayne Johnson) is a former low level criminal who left a life of crime to become a former government agent who left a life of government work to aid in a heist, thereby putting him back on a life of crime, until those criminals decide to mainly just save the world, thus putting Hobbs back into government work.
If the late ’60s were a freewheeling time in America, and its Hollywood filled with lounging hippies and the dimly glinting stars of an ending Golden Age of film, then Quentin Tarantino’s Once Upon a Time…in Hollywood is a complete tonal recreation of this period of time.
Casey (Jesse Eisenberg) is a pushover. I guess. That or he’s just polite and socially awkward. Either way, he desires to be more of a “man.” When a motorcycle gang violently mugs him, he looks into protection. A gun? No. Too volatile and dangerous. Karate? That makes sense to Casey.
Lulu Wang’s The Farewell could easily have drowned in its melodrama. It certainly hangs all of its narrative weight on its central conceit, in which a family hides their matriarch’s terminal cancer from her and use a staged wedding to give her a final family reunion. But there is something profound in the emotional power of Wang’s film.
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