Sweeney, Foster deliver knockout performances in affecting boxing biopic
Christy (Sydney Sweeney) contemplates her next move in the ring.
If you’re not a boxing fan, you may not have heard of Christy Martin, a super welterweight champion of women’s professional boxing. Netflix covered her personal and professional life story in its excellent sports documentary series Untold back in 2021’s “Deal with the Devil” episode, and Hollywood obviously found the material worthy of dramatic spin. Hence the release of Christy today, with actress Sydney Sweeney portraying the resilient boxing champ in an absorbing and well-acted biopic. Continue reading “Film Review: “Christy””
The Predator franchise hunts for a wild team-up adventure, and finds it
Thia (Elle Fanning) and Dek (Dimitrius Schuster-Koloamatangi) team up in ‘Predator: Badlands.’
Sometimes, the deeper a film franchise explores its lore, the more the lack of mystery renders new entries as overwritten, overexplained, and uninteresting (see Maleficent, Star Wars, Halloween, Alien, etc.). Every bit of old and new intellectual property is vulnerable to this type of universe-building, since there’s a lot of money to be made in juicing a franchise for all its worth. Not all of lore-exploring is bad, however. There are many exceptions, and after 2018’s disappointing Shane Black vehicle, The Predator, the Predator franchise has been successfully growing its cinematic universe since 2022 under the helm of writer/director Dan Trachtenberg (10 Cloverfield Lane, Prey, Predator: Killer of Killers). Predator: Badlands is the most adventurous and (intentionally) funny entry in the series, and it’s also the most distinct departure from the adult-oriented, extremely violent nature of its predecessors. Badlands stretches the tonal scope of what a Predator movie can include and feel like. With 2022’s Prey maintaining the franchise’s grittiness and simple setups (albeit taking place on the Great Plains in the early 1700s), and this year’s animated Predator: Killer of Killers expanding the Predator narrative pallet in inventive and ultra-gory ways, Badlands is an additional and promising franchise track: a character-oriented Star Wars-esque adventure.Continue reading “Film Review: “Predator: Badlands””
Emotions are an afterthought in this timely but surface-level historical dramatization
Hermann Göring (Russell Crowe) is on trial in ‘Nuremberg.’
The biggest challenge facing Nuremberg, the historical drama about the post-World War II Nazi trials, is that audiences can take a brief glimpse into today’s newspaper and read about an abundance of unchecked war crimes still taking place across the globe. Despite the precedent of individual accountability that the trials established, history tends to repeat itself. The second biggest issue facing Nuremberg is the script’s lack of emotional sincerity. Attempts at clever scene transitions and a tone aiming for a suspenseful courtroom dramafeel excruciatingly inappropriate. Despite a strong performance from Russell Crowe and the film’s timely release, Nuremberg fails to capture the tragedy, the sensitivity, and the momentousness of its subject matter.Continue reading “Film Review: “Nuremberg””
A couple of monsters and Stitch Head (Asa Butterfield) get ready for bed in ‘Stitch Head.’
On the heels of Guillermo Del Toro’s Frankenstein, and just in time for Halloween,comes a whimsical spin on the Frankenstein story, the animated comedy Stitch Head. It’s the first family film of the holiday season, heartwarmingly written and directed by Steve Hudson (True North). Undeniably self-aware and filled with equal amounts of kid-friendly and Monty Python-style humor, Stitch Head brings Guy Bass’s book series to life with charming, colorful vibrancy and carries with it a positive message about friendship and self-worth.Continue reading “Film Review: “Stitch Head””
Down and out in New Jersey: Bruce struggles—and so does the film
Bruce Springsteen (Jeremy Allen White, l.) talks with his manager, Jon Landau (Jeremy Strong).
Bruce Springsteen’s loyal longtime fans are bound to love the awkwardly-titled Springsteen: Deliver Me from Nowhere, but whether or not anyone else will is questionable. Those seeking a comprehensive biopic of the rock star in the vein of Rocketman (Elton John), Back to Black (Amy Winehouse), or Bohemian Rhapsody (Freddie Mercury) won’t find it here. Instead, based on the 2023 book Deliver Me From Nowhere: The Making of Bruce Springsteen’s Nebraska by Warren Zanes, the picture covers only one specific moment in Bruce’s life: the period when he wrote and recorded his 1982 album Nebraska.Continue reading “Film Review: “Springsteen: Deliver Me From Nowhere””
Dr. Victor Frankenstein (Oscar Isaac) looks upon his creation in ‘Frankenstein.’
Director Guillermo Del Toro has been waiting to adapt Mary Shelley’s Frankenstein; or, The Modern Prometheus (that’s the full book title) ever since he saw the 1931 film Frankenstein at age eleven. His aspiration should come as no surprise to those familiar with his work — the gothic aesthetic and creature designs in his films have become synonymous with his name, like in Pan’s Labyrinth, Hellboy, and The Shape of Water. Del Toro has finally made his version of Frankenstein, produced and distributed by Netflix. The streaming company’s involvement may or may not have contributed to the film’s decision to include computer-generated (CG) animals, and imbue many of the film’s scenes with what I can only describe as a distracting “Netflix sheen.” The director’s devotion to the source text is commendable and gives the film a deeper emotional and philosophical resonance, even if the end result may baffle viewers unfamiliar with Shelley’s book.Continue reading “Film Review: “Frankenstein””
The beautiful modern house shines in this otherwise uninspired remake
Polly (Maika Monroe) and Caitlin (Mary Elizabeth Winstead) rock the cradle in ‘The Hand that Rocks the Cradle.’
Another 1990s thriller has been remade (see: Presumed Innocent; Fatal Attraction): the 1992 film The Hand that Rocks the Cradle. Stylishly directed by Michelle Garza Cervera (Marea Alta), the new The Hand that Rocks the Cradle is tense and atmospheric, but bears the brunt of its predictability and slow pace. The original film was wickedly outlandish, helping it achieve status over time as the quintessential “evil babysitter” movie. Unfortunately, the remake lacks the willingness to let loose.Continue reading “Film Review: “The Hand that Rocks the Cradle””
Yale graduate student Maggie (Ayo Edebiri) has a serious conversation with her professor, Alma (Julia Roberts).
Luca Guadagnino’s Call Me By Your Name earned the coveted #1 spot on my Top 10 List back in 2017, but none of his films since then have come close to that level of excellence. While last year’s Challengers was at least decently entertaining, Guadagnino’s newest, After the Hunt, is another disappointment.Continue reading “Film Review: “After the Hunt””
Reeves, Rogen, and Ansari quest for wealth in this Capraesque comedy
Arj (Aziz Ansari) and Gabriel (Keanu Reeves) consult outside a Denny’s in ‘Good Fortune.’
Once again this year, audiences are invited to see a new comedy in theaters! Good Fortune is high-concept, taking the sentimentality of ‘30s and ‘40s era Frank Capra films (It Happened One Night; Mr. Smith Goes to Washington; It’s a Wonderful Life) and injecting a comical “what if” scenario and a modern-day setting. The film is also writer, actor, and comedian Aziz Ansari’s feature-length directorial debut. Using Good Fortune’s twist on fate and wealth, Ansari primarily explores the demoralizing nature of gig work and how it perpetuates economic inequality. Good Fortune doesn’t shed new light on existing problems, nor does it offer a realistic solution, but the film’s blunt jokiness and the unexpectedly winning trio at the film’s center give it wings.Continue reading “Film Review: “Good Fortune””
A spiraling mental journey into motherly affliction
Linda (Rose Byrne) can’t sleep in ‘If I Had Legs I’d Kick You.’
Can a film be simultaneously very good and also excruciatingly stressful to watch? Yes, I think so! Unpleasant viewing experiences can either be earned or unearned (read: purposeful or not on purpose). Mary Bronstein’s new film, If I Had Legs I’d Kick You, falls into the former category. A fraught tale delivered with sensory bombast and utilizing a powerhouse performance by Rose Byrne, If I Had Legs I’d Kick You is a siren song to motherhood.Continue reading “Film Review: “If I Had Legs I’d Kick You””
