Film Reviews
Sundance Review: You Won’t Be Alone is Staggering, Contemplative Folk Horror
This review is part of our coverage of the 2022 Sundance Film Festival. The Pitch: In 19th-century Macedonia, a young girl is born to a woman in a remote mountain village. But mere days after her birth, the mother is approached by Old Maid Maria (Anamaria Marinca), a mysterious, ancient witch — covered in flame-scarred skin — who lives outside the village and takes the blood of first-born children. Fearing for her child’s life, the mother takes her to a remote mountain cavern free from the witch’s influence, keeping her there for sixteen years without any other human contact. Eventually, the witch comes for her anyway, and soon the girl is transformed into a witch-creature like her, living under yet another stifling parental environment. Before long, she’s left to wander the Macedonia...
Sundance Review: Karen Gillan Faces Herself in Riley Stearns’ Deadpan Dual
This review is part of our coverage of the 2022 Sundance Film Festival. The Pitch: Sarah (Karen Gillan) is dying of a rare, incurable disease. It’s no big shakes, though, because up to now she hasn’t really lived: she has a strained, distant relationship with her boyfriend (Beulah Koale), her mother is disapproving, and she can’t even be bothered to cry when she receives her prognosis. Still, she unthinkingly accepts an offer to go through the process of “replacement”: growing a clone of her that will learn the ins and outs of her life, then take over when she dies. But ten months of watching her double (also Gillan, obviously) insinuate herself into her life, Sarah learns that she’s making a full recovery. But she’s got two problems: a) her boyfriend and family like the double more t...
Sundance Review: 892 Turns Real-Life Tragedy Into Mawkish Melodrama
This review is part of our coverage of the 2022 Sundance Film Festival. The Pitch: On July 17, 2017, former Marine lance corporal Brian Brown-Easley (John Boyega) walked into a Wells Fargo bank branch in the Atlanta suburbs, with a grey sweatshirt and backpack, and handed the teller a simple note with four words: I have a bomb. Soon, he’s taken hostages, with police negotiators and a confused media scrambling to defuse the situation. His demands? A measly $892 in disability funds denied to him by the Department of Veterans Affairs. Those are the circumstances reconstructed in Abi Damaris Corbin’s 892, a well-intentioned and occasionally striking thriller that charts the heartbreaking moments of a desperate man’s last gasps at visibility and relevance. Related Video Attica! T...
Sundance Review: In Jesse Eisenberg’s When You Finish Saving the World, Everyone Loses
This review is part of our coverage of the 2022 Sundance Film Festival. The Pitch: What happens when tensions between an equally oblivious mother and son (Julianne Moore and Finn Wolfhard, respectively) finally boil over? In Jesse Eisenberg’s directorial debut, the answer is, unfortunately, sort of nothing. There’s something to be said for slice-of-life films like this one, adapted from Eisenberg’s 2020 audio drama of the same name and co-produced by Emma Stone and husband Dave McCary. The film raises plenty of interesting questions, particularly around the ideas of altruism, actual moral goodness in a world perpetually concerned with what looks good, and the tried and true theme of generational divide. The simmering story only runs 88 minutes (a dream!), but, throughout that runtime, When...
The 355 Review: Predictable Twists Bog Down This Lady Spy Thriller
The Pitch: There is a certain sub-genre of films, largely action films, that belong to a very specific time and place — an idyllic lazy Saturday afternoon, that post-lunch or brunch drowsiness kicking in as you nestle into your couch at home, searching for something to watch that won’t require too much effort to engage with on your part. The kind of movie you might watch with your dad over the holidays, just because it’s on cable. What The 355 offers up is a perfect Saturday afternoon dad movie, but instead of starring Stallone or Eastwood or Bronson, it stars five women with six Oscar nominations and two wins between them. (And was written by the creator of NBC’s Smash!) Approached with those sorts of low expectations, the new action drama starring Jessica Chastain, Lupita Nyong’o, Penélo...
The Matrix Resurrections Review: A Wild, Meta, Sometimes Muddled, Occasionally Transcendent Love Story
The Pitch: Here’s the problem with reviewing The Matrix Resurrections: At this point, we basically have to accept that the franchise peaked with the first installment. This isn’t meant as an insult, but an honest statement of fact– this is what happens when a film is a masterpiece. If 1999’s The Matrix is a nearly perfect movie, almost transcendent at some points with how it blended genre and technology in service of its storytelling, then yeah, it may be impossible to top it. What makes Resurrections such a fascinating viewing experience, though, is the fact that the movie knows this. And, rather than try to shift the narrative to some different angle on the original, director Lana Wachowski, who co-wrote the script with David Mitchell and Aleksandar Hemon, decides to take on that problem...
Spider-Man: No Way Home Review: A Daring Narrative Feat With a Lot to Say About the Web-Slinger
The Pitch: It’s very very hard to make specific references to much of what happens in Spider-Man: No Way Home without spoilers. But at one point, while discussing the memory spell that Doctor Strange (Benedict Cumberbatch) has agreed to perform for Peter Parker (Tom Holland), Peter voices his concern over his beloved MJ (Zendaya) forgetting that he’s Spider-Man. Doctor Strange then points out that if MJ is only Peter’s girlfriend because he’s Spider-Man, then what does that say about their relationship? It’s perhaps the smartest thing Doctor Strange says in the entire movie, and evaluating No Way Home leads to a similar dilemma. What director Jon Watts and writers Chris McKenna and Erik Sommers have done with this film is an unprecedented piece of corporate-produced art. But attempting to ...
Sorry, But the Story Part of West Side Story Sucks
The Pitch: On a very literal level, Steven Spielberg‘s West Side Story is a technically perfect film. Every detail on screen, from the period-accurate production design to the costumes to the choreography and sound design, is flawlessly rendered by some of today’s best artisans, and regular Spielberg collaborator Janusz Kamiński’s cinematography is unmatched, using the full frame at all times, playing with depth of field and brilliant lighting choices in ways that only enhance the cast’s brilliant performances. There is so much to admire about this new take on West Side Story, especially how it makes up for the 1961 original by casting actual Latinos in key roles, and takes a bilingual approach to the dialogue that adds to the authenticity. The problem, unfortunately, is that all of this i...
Don’t Look Up Is a Smug Satire About the End of the World: Review
The Pitch: What would happen if you found out the world was ending and — get this — no one in power was going to do anything about it? That’s the discovery that Michigan State astronomers Dr. Randall Mindy (Leonardo DiCaprio) and Kate Dibiasky (Jennifer Lawrence) make, right after scoping out a nine-kilometer comet that’s about to slam into the Earth in six months’ time. Their entreaties to the aloof President of the United States (Meryl Streep) and her sycophantic failson Chief of Staff (Jonah Hill) fall on deaf ears; they’ll cling to even the .01% chance the two Midwestern hayseeds are wrong. To drum up public support for any effort to deflect the comet, Mindy and Dibiasky go on a whirlwind media tour that takes them from the smug, peppy cohosts of a morning talk show called the Dai...
Guillermo del Toro Turns From Gory Monsters to Gauzy Film Noir with Nightmare Alley: Review
The Pitch: When we first meet Stanton Carlisle (Bradley Cooper), he’s burying a body under the floorboards of a country home and setting it aflame, burning his past and his previous life to the ground, presumably to start anew. Eventually, his wanderings lead him to a run-down carnival deep in the sticks, where he quickly ingratiates himself with the freaks and geeks who populate it. It’s not long before he sees the flim-flams underpinning each of their acts — particularly the mentalism of fortune teller Zeena (Toni Collette) and her drunken husband, Pete (David Strathairn), who correctly divines the identity of objects with the help of verbal codes — and wants in on the action. Stars in his eyes, Stan makes his way to the big city with young, virginal carny Molly (Rooney Mara) in tow...
House of Gucci Is as Italian as a Pizza Bagel and It Knows It: Review
The Pitch: On March 27, 1995, Maurizio Gucci (Adam Driver), then head of the luxury fashion label Gucci, was shot dead on the steps outside his Milan office. Two years later, his ex-wife, Patrizia Reggiani (Lady Gaga), and her accomplices were sentenced to prison, most of them for more than twenty-five-year sentences. But how did we get here? How did a woman who found herself at the top of the fashion world turn into a black widow? Ridley Scott‘s House of Gucci wants to answer those questions, with all the brio and style to which the Gucci name is accustomed. We flash back to the early ’70s, where a young Patrizia meets and charms the bookish Maurizio, who wants less than nothing to do with the Gucci dynasty, considering his strained relationship with his ailing father Rodolfo (J...
Ghostbusters: Afterlife Is Too Haunted By the Past to Feel Fresh: Review
The Pitch: Trying to tell a really good 21st century Ghostbusters story seems to be an enterprise guaranteed to make absolutely no one happy. Which already makes Ghostbusters: Afterlife a depressing venture right out of the gate; one can almost sense director Jason Reitman screaming from the sidelines, “Are you nerds happy now?!?” Unfortunately, as much as Afterlife openly seeks to draw upon nostalgia for the original, a lot of fans may find the taste of their youth to be curdled by the level of pandering involved. Things begin with the reveal that one of the original Ghostbusters (the movie gets a bit coy about this, but it’s Egon Spengler, who was played by the recently deceased Harold Ramis) had left his friends and moved to Summerville, Oklahoma in the years before his death. Following...
