Jojo Rabbit is a tonal minefield. Taking place during the waning months of World War II and featuring a 10-year-old boy’s imaginary friend version of Hitler (played by writer-director Taika Waititi), the film is an anti-hate dramedy with plenty of Third Reich hate being tossed around as jokes of absurdity.
Oscar Martin’s Amigo, his feature directorial debut, will likely come to be known as Intouchables without the uplift. Both films center on a caretaker and a man who has been rendered paralyzed, and the struggles therein. But the comparison is reductive, as Amigo is quite clearly staking out a space for itself in the psychological thriller genre-space.
I imagine the pitch to Fox Searchlight for the new horror comedy Ready or Not started somewhere along the lines of that. Writers Guy Busick and Ryan Murphy may have thrown in some talk of a satire of the 1%, a bloody R-rated horror film with potential mainstream appeal, crossbows, and/or a board game-based “dominion.”
Busick and Murphy’s script begins with a wedding. But there isn’t a lot of champagne and doves at this wedding. Looming under the shadow of the Le Domas mansion, Grace (Samara Weaving) and Alex (Mark O’Brien) are Continue reading Ready or Not (2019) Movie Review→
The first hurdle that The Angry Birds Movie 2 has to overcomes is following up the far superior short film Hair Love. It is a difficult task to headline after a short that is as beautifully heartfelt, tender, funny, and imaginative as that short is. And, as expected, The Angry Birds Movie 2 does not live up in any of those categories.
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.
“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.”
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.
There may not be much charm in the title Stuber—if you don’t have the pieces of the clumsy portmanteau pieced together from the trailer before going to the cinema, then it is a title likely to breed more confusion than chuckles. But there is some charm to the notion of an original buddy cop comedy within a Summer drought of failing franchise/reboot IP (Disney not included, at least not financially-speaking).