The eyes have it: Chastain shines in Bakker biopic
Andrew Garfield is Jim Bakker and Jessica Chastain is Tammy Faye Bakker in The Eyes of Tammy Faye.
“If you follow blindly, in the end all you are is blind,” Tammy Faye Bakker’s mother Rachel tells her daughter in The Eyes of Tammy Faye. As directed by Michael Showalter (The Big Sick; Hello My Name is Doris), the film, while heavy on the eye imagery, largely glosses over just how blind Tammy Faye actually was to her husband Jim’s defrauding of the couple’s vast televangelist ministry. Nevertheless, the picture is still a lot of fun, and features a showstopping turn from a nearly unrecognizable Jessica Chastain as Tammy Faye.
La Linda (Tiffany Haddish) tries to connect with Bill (Oscar Isaac).
In Paul Schrader’s new offering The Card Counter, the venerable writer/director proves that exploring the question of why humans can never quite find real connection will always make for worthwhile, if somewhat challenging viewing.Continue reading “Film Review: “The Card Counter””
Sometimes a film comes along, for better or worse, too soon or too late, that captures current events and our collective state of mind. Together, the new film by Stephen Daldry (The Crown; Billy Elliot), may be THAT film for the COVID pandemic. While its 2020 relevance and verbose, stage play-esque script may turn off some viewers, the phenomenal performances by the lead duo and an honest, unflinching story about a romantic relationship in close quarters elevate this small film to more respectable heights.
Hall’s performance, ample scares make this House worth visiting
Beth (Rebecca Hall) is in her house, at night.
Halloween is still over two months away, but since decorations and candy are already on the CVS shelves, we may as well be treated to a late summer horror movie release, too. That comes to us today in the form of The Night House, a somewhat uneven but mostly enjoyable frightening picture that’s also a terrific showcase for actress Rebecca Hall.
Driver, Cotillard can’t save dispiriting, tedious rock opera
Ann (Marion Cotillard) and Henry (Adam Driver) walk and talk (er, sing).
If you heard Adam Driver belt out “Being Alive” in Marriage Story two years ago and thought to yourself, “Wow, I sure wish I could hear Adam Driver sing more,” well then you’re in luck. The musical Annette opens today, and Driver warbles his way throughout, so if you’re into that, go check it out. But for the rest of us, be warned: this overly long, joyless rock opera is no fun, and a chore to sit through.
DC, which obviously stands for Demolition Crew due to their incessant need to destroy CGI buildings in each film they release…. Oh, wait, it stands for Detective Comics? Ah. Well, in that case, they have a lot of repairing to do, both to their brand and to their movies, which have suffered from every production snafu, PR mess, and critical upheaval possible in the last decade. With the exception of the first Wonder Woman film in 2017, and delightful detours with Shazam! and Birds of Prey, the headlining slate of Batman, Superman, and Justice League-related films have been atrocious, including 2016’s Suicide Squad. Thankfully, The Suicide Squad (emphasis on ‘The’) pulls no punches as it blows up any trace of the previous film’s legacy. It’s a fun movie that requires no homework; you can enter the theater a DC expert or fresh-faced, and Suicide Squad provides a gory good time at the movies. Sure, it’s too long. Sure, its middle third is boring, forgettable, and obnoxiously sullen. Nevertheless, Director James Gunn has infused a sense of silly violent fun that studio rivals over at Marvel have been employing for over a decade, and which DC has been incapable of featuring until now (note: Birds of Prey was actually a better, under-appreciated righting of the ship). The Suicide Squad is not perfect, but it’s a helluva good time.
McCarthy’s newest is pas mal, thanks to Damon and Cottin
Oklahoman Bill (Matt Damon) navigates the complex city of Marseille as he tries to help his daughter.
Stillwater is a strange movie that somehow works in spite of itself. It tries to be many things: a murder mystery, a character study, a redemptive father/daughter drama, a romance, and a fish out of water culture clash, to name just a few. Some of these elements are strong and some are weak, but, taken together, they create a whole that is worth more than its parts, and make the picture worth a look despite its flaws. Continue reading “Film Review: “Stillwater””
Charles (Rufus Sewell) isn’t having the best time of it, and neither are we watching him.
M. Night Shyamalan was nominated for writing and directing Oscars for the inarguably brilliant The Sixth Sense over 20 years ago, and he’s been trying to replicate that success ever since. Unfortunately, each of his offerings since then, aside from 2002’s box office victory Signs, has been met with high hopes and then dashed expectations. His newest film, Old, is a similar disappointment. “Disappointing” is actually too kind a word for this picture; unwatchable and laughable are probably more accurate descriptors. Continue reading “Film Review: “Old””
Chef, writer, and world traveler Anthony Bourdain.
Director Morgan Neville, who won an Oscar for 20 Feet from Stardom and multiple awards for the Mr. Rogers documentary Won’t You Be My Neighbor takes on the late celebrity chef Anthony Bourdain in his new film Roadrunner: A Film About Anthony Bourdain. The subtitle is somewhat curious; yes, the film is about Bourdain, but while Neville briefly touches on Bourdain’s early life, anyone looking for a thorough biographical sketch of the man won’t find it here. Ultimately, the film is less of an all-encompassing biography, and more of a meditation on life and its attendant joys and sorrows and suicide, loss, and grief. On that level, it works exceptionally well. Continue reading “Film Review: “Roadrunner: A Film About Anthony Bourdain””
Gladys Knight and the Pips at the Harlem Cultural Festival
The scene: Thousands of music lovers packed around a stage. Guitars, drums, keys, horns, harmonicas all playing together, and together getting heads to bob and bodies to sway. It’s the summer of ‘69, and this isn’t Woodstock. Continue reading “Film Review: “The Summer of Soul””
