24 FRAMES Criterion Blu-ray Review
The Criterion edition of 24 Frames is a fittingly superb tribute to a great artist.
The Criterion edition of 24 Frames is a fittingly superb tribute to a great artist.
The Standoff at Sparrow Creek is formally and aesthetically fascinating, even when its script feels a little incomplete.
Continuing our 2018 wrap-up spectacular is Ken Bakely‘s top 10 films of 2018.
Though the movie is capable, it’s missing the extra push to keep it away from using to the familiar tropes it wants to avoid.
Shebanow’s driving energy is always apparent although sometimes it’s left, frustratingly, just out of reach.
It’s a movie with an unwavering faith in the lessons we can learn from the past, but it shuns inappropriate nostalgia or uncritical revisionism.
Sadie is, above all, a meditation on life spent without access: to money, to answers, to safe outlets for confusion and anger.
The film’s greatest asset is its ability to convey the lively spirit of the conversations without feeling selective or artificially emphasizing points, beyond spare bursts of archival footage or the occasional question posed from Michell himself.
Cold Water is an absorbing, pensive look at what such desires feel like on the inside, with its handheld close-ups on faces and careful observance at objects and structures, as if to seek answers from everything in equal measure.
Operation Finale is the historical film at its most safely crafted, even as individual production elements, such as Alexandre Desplat’s pushy score – heavy on everything from marimbas to choirs – suggest departures from a cookie-cutter approach that aren’t reflected onscreen.
It’s the kind of enigmatic art that contains multitudes but ultimately speaks for itself.
Crazy Rich Asians is a work of pure intent and wide potential, utilizing Hollywood’s most popular, time-tested devices and razzmatazz with a wise and lovely embrace.
As we finally expunge the traumatic memories of The Kissing Booth from our minds, Netflix has delivered To All the Boys I’ve Loved Before, a teen comedy just as formulaic, but significantly less appalling.
Neither inventive enough to wow us, nor lovably dumb enough to cheekily win us over, The Meg winds up in a bland middle, at the intersection where the simplicity of giant sharks and the complexity of tentpole-budgeted film financing and risk assessment meet.
A Matter of Life and Death is aesthetically and thematically governed by images of the planets and stars themselves, always greater than individual hangups.
Euthanizer’s ideas about human interactions through karmic desire often run flat, as the film’s stylistic choices betray the capabilities of its lead actor and what the script has guided him up to that point.