Category: Films

Film Review: “Mufasa: The Lion King”

Mufasa is a princely improvement, but still no match for the original King

The 2019 photorealistic remake of the 1994 classic The Lion King was a global box office sensation, but lacked the joy, energy, and instantly-memorable character portrayals of the original. When Oscar winner Barry Jenkins (Moonlight) announced he’d be directing a follow-up to the 2019 film, the choice seemed a peculiar one for the accomplished filmmaker. Upon watching Mufasa: The Lion King, however, we can clearly see (and feel) that Jenkins cared passionately about the thematic elements of the proposed prequel. Combined with original songs by Lin-Manuel Miranda and improved character designs, Mufasa: The Lion King is a superior follow-up to the 2019 film, even if it still fails to break new ground in any meaningful way. Continue reading “Film Review: “Mufasa: The Lion King””

Film Review: “The Brutalist”

The Brutalist is a towering achievement in epic visual storytelling

Ten thousand words could be written about the surreal, dizzying shot of an upside-down Statue of Liberty in The Brutalist, Brady Corbet’s epic tale of a Hungarian immigrant’s experience in America. The Statue of Liberty sequence lasts no more than twenty seconds, yet a skewed opinion of a burgeoning nation’s dreams, hopes, and promises lie within its symbolism. The Brutalist is filled with amazing imagery like the Statue of Liberty shot, and monumental performances to match them. With The Brutalist, from its musical score to its costuming, Corbet has assembled a modern masterpiece, a staggering filmmaking achievement that weaves together the majesty and tragedy of the American Dream into a captivating and intimate story. Continue reading “Film Review: “The Brutalist””

Film Review: “Nightbitch”

Nightbitch is a reductive maternal fable stretched thin

Being a mother is difficult. While I can’t personally attest to the difficulties of motherhood, I understand that to be objectively true. I’ve also seen many films across multiple genres that tackle the hardships of motherhood, from Freaky Friday to The Babadook. Many of these films depict how maternal hardships can be understood on deeper levels, or seen from a previously unexplored perspective. Facing the demands of motherhood, and depending on the genre, protagonists go on a journey of self-discovery through side-splitting humor, terrorizing horror, or tear-jerking drama. Nightbitch is a dark comedy that focuses so resolutely on the most fundamental difficulties of being a parent – losing sleep, social and professional sacrifices, too much to do and not enough time to do it – that the film’s creative supporting elements fail to make an impact. Continue reading “Film Review: “Nightbitch””

Film Review: “Queer”

Guadagnino’s soul-searching adaptation is a mixed bag of moods

If you’re familiar with the literary works of William S. Burroughs, then perhaps you won’t be surprised that film adaptations of his novels contain a strong sense of surreality, auto-biographicality, and intense intimacy. The latter characteristic is also prevalently featured in the works of director Luca Guadagnino (Call Me By Your Name; Challengers). Despite Guadagnino and Burroughs’ shared love for portraying romantic physicality, and Daniel Craig’s impressively daring and vulnerable performance, Guadagnino’s adaptation of the Burroughs short novel, Queer, tries and often fails to properly balance the two artists’ stylistic approaches. Continue reading “Film Review: “Queer””

Film Review: “The Order”

Hoult and Law bolster The Order’s thrilling real-world drama

This has been a monumental year for Nicholas Hoult. He has starred in four films: The Garfield Movie, Juror #2, The Order, and the upcoming Nosferatu. It’s difficult to envision a wider-range of films for an actor in one year, and The Order may be his most consequential role. In The Order, Hoult shares the spotlight with Jude Law, who is also playing against type. The film follows a series of real-life events that took place in the Pacific Northwest in the 1980s, with themes that continue to be relevant given the U.S.’s turbulent state of current political affairs. Procedural and moody, The Order avoids preachiness in favor of character exploration and thrilling action set pieces. Continue reading “Film Review: “The Order””

Film Review: “Wicked: Part I”

Skip this trip to Oz

Elphaba (Cynthia Erivo, l.) and Galinda (Ariana Grande) become friends after a rocky start.

There are three main things you need to know if you’re considering seeing Wicked, the cinematic adaptation of the award-winning Broadway musical. First: Be aware that it’s very long–almost three hours. Second: Most of the movie posters for the film haven’t emphasized this fact–and only recently did IMDB change the film’s title from just Wicked to Wicked: Part I–but the film that opens today is indeed only PART ONE of a two-part adaptation. The movie released today corresponds to the live musical’s first act. That means that somehow the production’s entire story–which managed to be told in a nearly three hour live musical (including an intermission, no less)–has, in the hands of director John M. Chu (Crazy Rich Asians; In the Heights), become an interminable six hour filmic experience, with the two individual movies running just as long as the original musical itself, while each only telling half the story. Which brings us to point three: While the film is a visual feast, featuring exceptional production design and cinematography, its stretched-out story drags, meanders, and is often mind numbingly dull.

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Film Review: “Gladiator II”

Gladiator II forgoes emotion in favor of blood and spectacle

In the summer of 2000, Gladiator reinvigorated audiences’ desire for the sword-and-sandal epic. This subgenre had mostly been relegated to the “classics” section of movie rental stores, with the likes of Spartacus and Conan the Barbarian. And yet, the subgenre died out again after the Gladiator copies had their swings at glory in the early-2000s. Unfortunately, very few directors like Sir Ridley Scott have the talent to produce a sword-and-sandal epic. So here we find ourselves, in 2024, and Sir Ridley is again hoping to re-popularize the subgenre with Gladiator II, a sequel to the Best Picture and Best Actor Oscar-winning 2000 film. While undoubtedly entertaining from start to finish and featuring a stellar Denzel Washington performance, Gladiator II suffers from the flaws of “sequelitis” and an insecurity about whether audiences recall the original film. Continue reading “Film Review: “Gladiator II””

Film Review: “A Real Pain”

A Real Pain is a real success for Eisenberg

Benji (Kieran Culkin, l.) and his cousin David (Jesse Eisenberg) have lunch during their group tour of Poland.

If you loved Kieran Culkin as the brutally honest but sensitive Roman Roy in Succession, you’re bound to enjoy his work in A Real Pain. As Benji in Jesse Eisenberg’s new film, Culkin creates a similar character whose lack of social filters and often inappropriate bluntness masks deep empathy and pain. Eisenberg also co-stars as Benji’s more buttoned up cousin, David. The duo’s performances help make A Real Pain one of the year’s best films. 

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Film Review: “Red One”

Red One is a cacophony of borrowed ideas and lazy jokes

Each year, movie lovers share a communal hope that a new holiday film will earn a spot among the pantheon of great holiday classics, becoming a new beloved title to watch annually with family and friends. This year, Red One isn’t it. Bloated with ideas borrowed from a wide range of superhero and other Christmas films, and prioritizing action above comedy or the Christmas spirit, Red One is simply a colorful distraction that fails to achieve emotional liftoff.  Continue reading “Film Review: “Red One””

Film Review: “Anora”

Baker’s latest proves one of the year’s best

Ivan (Mark Eidelshtein) and Anora (Mikey Madison) have a good time.

 Filmmaker Sean Baker first gained acclaim with his 2015 iPhone-filmed indie Tangerine. He continued his ascent with the equally well-received The Florida Project (2017) and Red Rocket (2021). Now, with his new movie Anora, writer/director Baker may finally find himself on the receiving end of an Oscar, for screenplay, directing, picture, or even all three. And his leading lady, Mikey Madison, is bound to earn an acting nomination for her incomparable performance as the titular Anora.

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