Game Night is the funniest film to come out this year (would be even if there was more competition). It’s funny because it’s extremely clever, but it’s also funny because it’s not afraid to be silly.
Everybody Knows takes us to a Spanish village, deep in wine country, where a family is reunited, old grudges come to the surface, the unthinkable happens, and all that was unsaid is, inevitably, said.
Solo is thoroughly entertaining; I’m just disappointed that this and Rogue One insist on coloring strictly within the lines of the original trilogy instead of taking the chance to -quite literally- expand the universe.
What a delight, what a rare privilege, to see a work of art so full to the brim with talent. This is a movie that knows how to find the cosmic in the commonplace, the monumental in the smallest interactions. It is a tragedy, but it is also, simply, life.
Much like Cervantes’ book itself, this movie contains many stand-alone episodes, as the characters encounter various damsels in distress, evil sorcerers, or nefarious knights, with the twist of hopping between levels of narrative every few minutes. Running north of the two hour mark, the film is long, and feels longer still.
The Tale is a study of memory and trauma, and how the two grapple with each other. The way it weaves a story from these threads, dipping in and out of the past so much like our minds do, is nothing short of masterful.
Steven Soderbergh took a $1.5 milllion budget (which could pay for roughly 40 seconds of a Marvel blockbuster), his iPhone 7, and made himself an outstanding psychological thriller. That alone is an achievement, but so is Claire Foy’s performance as the sole protagonist.
Here’s a movie you did not see coming: a genre-savvy horror comedy set in the 19th century, in an isolated Basque village, starring an old man, a little girl, and possibly a literal demon from hell. What more do you want?
Hereditary will methodically target your deepest insecurities, your most primal fears, undermine whatever defenses you’ve built around them, and then ravage them with chilling ruthlessness.
The film succeeds by letting these characters reconnect slowly, naturally, awkwardly, by giving them space to circle each other; it looks at them with sympathy, not with judgement.