As filmmaking — U.S. filmmaking, anyway — becomes more and more entrenched in an era of high-concept spectacle, in which every new offering must have a big, shimmering storytelling hook, Greta Gerwig’s debut as the solely credited director offers the … Continue reading Top Ten Movies of 2017 — Number One
People are places exert powerful holds. They can be nurturing in their influence, or they can keep someone’s ambitions — their very possibilities — smothered, doing so with a blind indifference to the effect being rendered. Quite often, the opposite … Continue reading Top Ten Movies of 2017 — Number Two
In the unlikely even there were a few outliers who still doubted the enormous scope — and corresponding influence — of the extended exercise in filmmaking known as the Marvel Cinematic Universe, the recently released “class photo” should have put … Continue reading Now Playing — Black Panther
Since I recently lobbed a few ill words in the direction of Joe Wright’s latest Best Picture nominee in which the evacuation of Dunkirk figures into the plot, I’ll look back to a far more admiring assessment of an earlier effort from the director. Atonement was also a Best Picture nominee in which the evacuation of Dunkirk figures in the plot. How about that? And ten years ago, because of the same film, little Saoirse Ronan was also getting ready for her first trip to the Oscars. Atonement is a terrific book, so artfully taking advantage of the storytelling opportunities unique to … Continue reading From the Archive — Atonement
The Hollywood Foreign Press Association endure a significant amount of wholly deserved derision for the sometimes spurious reasoning employing in divvying films into the broad categories of “Drama” and “Comedy/Musical” every year (a practice, it’s worth noting, abetted by studios … Continue reading Top Ten Movies of 2017 — Number Three
Darkest Hour (Joe Wright, 2017). Director Joe Wright does his damnedest to pump up Darkest Hour with tricky visuals and little jolts of energy, but the stodginess of this drama is finally overwhelming. The film depicts the early tenure of … Continue reading Playing Catch-Up — Darkest Hour; The House; Dear Heart
There’s no doubt that Guillermo del Toro’s sympathies lie with the monsters. In that respect, The Shape of Water is no revelation. Instead it is — marvelously, beautifully — an expression of del Toro’s worldview so perfectly, precisely rendered that … Continue reading Top Ten Movies of 2017 — Number Four
Last week, I dug out the old review for Clint Eastwood’s The Flags of Our Fathers. It’s time for his follow-up. Since I initially took the occasion of revisiting these reviews of Eastwood films to call into question some of the more overt veneration of his skills as a director, I now feel obligated to add that this effort nabbed a reasonably secure place on my top ten list for the year it was released. Well it’s a damn sight better than Flags of Our Fathers, I’ll say that. The companion to director Clint Eastwood’s earlier film about the battle of Iwo Jima … Continue reading From the Archive — Letters from Iwo Jima
Mudbound, directed by Dee Rees, does heavy lifting. Set largely in nineteen-forties Mississippi, the adaptation from a Hillary Jordan novel (Rees and Virgil Williams are co-credited on the screenplay) depicts the hardships endured by two connected families on a sprawling, … Continue reading Top Ten Movies of 2017 — Number Five
Murder on the Orient Express (Kenneth Branagh, 2017). This adaptation of one of Agatha Christie’s most famed novels finds Kenneth Branagh in his happy showman role, both in the officiously constructed visuals and in his leading performance as detective Hercule … Continue reading Playing Catch-Up — Murder on the Orient Express; Roman J. Israel, Esq.; A Cure for Wellness
Coffee for Two 