There is something completely understandable and, to an extent, forgivable about the slapdash, lumpy, and largely hollow pieces that shape the narrative of Star Wars: The Rise of Skywalker. There is a distinct feeling, present from the opening scene of The Rise of Skywalker, that J.J. Abrams started this race a lap behind (Abrams was brought on late to the film after Disney parted ways with Colin Trevorrow).
There is nothing particularly novel about the setup of Gemini Man. Will Smith plays Henry Brogan, a master assassin with 72 kills under his belt. He is on the verge of retirement, and the government organization that hires him, the Defense Intelligence Agency, sends the next great thing in assassination against him.
The first act is a thorough illustration of Brogan’s unmatched skill. He evades, he eviscerates, he saves. He exposes the young agent who has been tasked with surveilling him (Mary Elizabeth Winstead). He looks down the sights of plenty of guns (with the gun cocked at a super cool angle). Long story short, Continue reading Gemini Man (2019) Movie Review→
It may be cliched to refer to beautiful-looking films with the phrase “every frame is a painting,” but in the case of Robert Eggers’ latest, The Lighthouse, many of the shots are picturesque. The introduction of our two characters, lighthouse keepers Ephraim Winslow (Robert Pattinson) and Thomas Wake (Willem Dafoe), looks like a stoic portrait. The reverse shot that follows, depicting the lighthouse on the black ocean, looks like a Gothic landscape piece.
Takashi Miike’s First Love is a love story, just in the loosest sense. It is also a film about addiction, allegiances, overcoming past trauma, and Yakuza violence. Yep, it’s a Yakuza crime film, but Miike layers this intensely-plotted crime story with humanity that perks up at the most unlikely times.
While it is unfair to compare Mary Harron’s latest film, Charlie Says, to Quentin Tarantino’s latest—and I will try to keep this brief—my exposure to both films came within a close window, making it hard to avoid. But I do think that one illuminates the other, as opposed to one dwarfing the other.
47 Meters Down: Uncaged shares a name and a director with 47 Meters Down. Both movies involve sharks. So I guess this is a sequel. The two films share no characters, but otherwise their plots are entirely the same. The only difference is in the title: 47 Meters Down had a cage, and 47 Meters Down: Uncaged does not.
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.