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.
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.
As the Eric Hynes essay in the Criterion booklet astutely points out, it’s best to consider Moore’s films as a kind of dynamic presentation, mixing traditional storytelling techniques and operatic hellraising with the kind of infuriating horrors that can only come from simply discussing aspects of real life as they stand.
Regardless of the notion that its young target audience is more inclined to stream than to head out to a theater, writer/director Craig Johnson is allowed to play more liberally with profanity, engage with his characters’ sex lives more frankly, and create broadly irreverent running jokes that a major studio would cull into a nicer package.
Because Love After Love is centered on the constant reversion to its characters’ shortcomings, it forces us to see everything through moments that devolve through inflated egos or simple misunderstandings, charged by personal pain.
It’s hard to discern what Allure wants to say. Once it introduces its idea of abuse as a vicious cycle, it can only re-manifest that notion in different ways because it lacks the conceptual discipline to craft interlocking story arcs.
We’ve arrived at the end of one of the most tumultuous awards seasons in quite some time. While many of the races have been sewn up, some are only deceptively safe, while others – including Best Picture – remain quite visibly
Shot in gorgeously high-contrast, black-and-white style, the realms of good and evil are reflected in bright colors that all but blend into snow and ice, with darker tones seeping off the screen into an infinite abyss.
The movie is filled with with dry humor and awkward encounters, and they prove to be amusing in the abstract, although we can’t help but feel that this levity is used as an excuse to avoid the plot’s more complex implications.