Everywhere Howard goes is a riot of emotion and crosstalk: boasts and deals are made, and (less frequently) apologies are offered. Just as you need a lot of pressure and energy to ignite a star, or to form a gemstone, it’s clear that you need something similar (albeit on a more human scale) to survive in Howard’s world.
Read MoreFew emerging filmmakers are quite as confident as Dorsey with how she isolates visuals and sounds, like an insect crawling along the ground while high-school-aged girls chat about boys, or the almost unsettling amplification of the sounds of people chewing or drinking. It’s a technique that suggests the film wants to take a detailed, magnified look at hard-to-spot details in everyday life; a method that echoes the feeling that drives the two main characters: pervasive, almost crippling loneliness.
Read MoreThere is so much care, thought and detail put into the show it’s mesmerizing even on second watch. The era-specific cars, restaurants, technology and social issues is compelling television. This is absolutely Fincher’s doing, whose characters are often investigators, and by extension pays a lot of attention to details in his scenes.
Read MoreThe show isn’t all bad because at the very least I felt compelled to finish it. I appreciate its ambitious international slant, speaking Cantonese, Mandarin, Russian and Gaelic, and the fight choreography is fast and vicious, mostly thanks to Uwais, perhaps the closest thing we have to a Jackie Chan or Jet Li in western cinema. The food looks good, too.
Read MoreBafflingly, the question posed by the film’s title doesn’t really come into force until halfway through. And various storytelling devices intended to tame the movie’s shaggy bits, like voiceover by the protagonist’s daughter and flashback exposition-dumps, are too inconsistently applied to keep anything in check.
Read MoreAs the car magnate, Pace is the core attraction. After playing a similarly intimidating genius named Joe MacMillan on AMC’s retro tech-industry series Halt and Catch Fire, DeLorean feels like a natural choice for the actor.
Read MoreHere’s five reasons the movie rules and five reasons it sucked.
Read MoreSomewhere inside, the filmmaker believes that his beloved analog Hollywood could have been rescued by a man of action like Cliff. While we’re encouraged to get to know Robbie’s depiction of Tate and root for her, she’s more of an icon for the period of time that Tarantino so carefully recreates here, and preserves in other ventures like his New Beverly Cinema in the real-life L.A.
Read MoreThe struggle is real; not only is she hounded by questions about her private life (“are you married yet?”), she also has to put on a brave face to keep the family secret because – as her own family members keep pointing out – she’s far too emotional to be able to hide anything. It’s a low-key shot at “western” values that place more emphasis on being open and free-speaking, compared to stoicism as the more widely-accepted ideal in most Asian cultures.
Read MoreIt’s funny, though, that this would be the detail that the studio would censor in Jon Favreau’s film, because it’s symbolic of the problem in the release as a whole. Every painstakingly recreated scene feels like a crucial piece of it was sliced out to suit a modus operandi of making a version of The Lion King that might feasibly occur in the real Africa.
Read MoreBack in February, we surveyed all the films set to come out over the upcoming year and wondered who could win their first statue in 2020.
It’s now five months later, so we thought it was high time to revisit the list and see what’s changed.
Read MoreSo much of Tom Holland’s second solo venture as Spider-Man is tied to Iron Man and Avengers: Endgame that you half-expect another superhero to show up, and it’s oddly weird that no one does. The end result is another competent entry in the MCU, the final chapter in the universe’s Phase 3, but a film that doesn’t stand out on its own.
Read MoreWhereas American Gods often shows its mythological deities variously murdering or otherwise exploiting humans, Good Omens depicts Heaven and Hell as more of a pair of twin bureaucracies, pushing paperwork around and counting down the days to the end of the world with a cheerful, if grimly cynical attitude.
Read MoreThe key ingredient of the original film is the relationship between J and K: one an over-confident, rule-eschewing newbie, the other a grizzled veteran. Even though the screenwriters try to fit Hemsworth and Thompson into a similar dynamic, their characters are paper-thin by comparison
Read MoreDespite some strong performances and two excellent action sequences, Dark Phoenix never really feel like it had a chance. It’s still rife with problems, but it doesn’t deserve to be forgotten.
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