Film Reviews

“Logan” Leverages Stellar Performances and Engaging Action To Deliver an Outstanding Wolverine Send-Off

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Logan, James Mangold’s conclusion to the Wolverine franchise, dispenses with a safe approach to the comic book genre in favor of careful characterization, genuine emotion, and tactful storytelling.  It is an unabashed hard-R action movie bursting with violence, gore, and harsh language.  But, Mangold and company employ the R-rating towards more than blood and F-bombs … Read more

“I Don’t Feel at Home in this World Anymore” Announces Macon Blair as a Burgeoning Directorial Talent

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I Don’t Feel at Home in the World Anymore captures that peculiar modern feeling that the world is a frustrating and mean place – but that ordinary folks can stand up and push back, though sometimes with hilarious and awkward results.  Writer-director Macon Blair’s film contains bleak humor, affecting drama, and a bumbling crime story.  … Read more

Jordan Peele’s Horror Masterpiece “Get Out” Expertly Satirizes Suburban Racists

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Writer-director Jordan Peele’s Get Out is a potent and poignant allegory about modern race relations in suburban America.  It is constructed on the skeleton of a slow-burn horror-thriller, with some awkward comedy thrown in for good measure.  Satirical to its very core, Get Out ridicules the WASP-y “post-racism” of the middle-upper class, and suggests that despite protestations to the contrary, this racism is just as nefarious as blatant hatred.  Through a deft use of genre tropes, Peele develops this allegory to its full potency, and the audience reaps the rewards.  As the pieces fall into place, we are eating out of Peele’s hand at every turn and there is only one conclusion:  Get Out is a masterpiece, harshly satiric and thoroughly creepy.

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Park Chan-wook’s “The Handmaiden” Expresses Powerful Sexuality with Startling Style

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Weird, exciting, and vibrant, Park Chan-wook’s The Handmaiden is an erotic tour through a world of subjugation, trickery, and betrayal framed by a bizarre love triangle.  The story was inspired by the novel Fingersmith by Welsh writer Sarah Waters, with Park and his co-writer Chung Seo-kyung adjusting the setting from Victorian England to Japanese-occupied Korea during the 1930s.  The structure of the film is cyclical, re-telling the story three times from different viewpoints and revealing new truths with each telling.  There’s an unreliability to the narrative, as truth and facade alternate with each new perspective.  But ultimately, The Handmaiden has an fervent romanticism about it, as the heart of the story is about love, sexual exploration, and self-discovery – all with a tinge of deviancy.

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Verhoeven and Huppert Combine to Tell a Singular Story of Feminine Strength in “Elle”

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Paul Verhoeven’s Elle opens with a blank screen and the sickening sounds of sexual assault.  The first image of the film is of a cat, casually witnessing the rape.  Only after this introduction does Verhoeven confront the audience with the actual struggle:  a man clad in dark clothing and a ski mask, dominating an older woman and having his way with her.  Once he is gone, we’re introduced to Michèle Leblanc (Isabelle Huppert) wordlessly; she picks herself up, straightens her clothing, cleans up some broken glass, and then takes a bath.  The blood floats up from between her legs to color the bubbles with a crimson wisp.

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“The Founder” Allows the Spectator To Interpret the Life and Success of Ray Kroc

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It is practically impossible to create a biopic without passing judgment on some axis, but director John Lee Hancock comes pretty close to presenting an unbiased view of McDonald’s “founder” Ray Kroc in The Founder.  The film details the story of Kroc discovering the original McDonald’s restaurant, the brainchild of brothers Mac and Dick, and expanding the McDonald’s empire through an aggressive franchise model.  As McDonald’s restaurants pop up everywhere, Mac and Dick lose control of the endeavor, and Kroc eventually muscles the two away from the business.

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Classic Review – Jonathan Demme’s “The Silence of the Lambs” (1991)

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INTRODUCTION

In 1991, dozens of happy accidents converged into one of the greatest thrillers of all time:  The Silence of the Lambs.  It is the most recent film to win Academy Awards in all five of the major categories (both leading actors, screenplay, director, and best picture).  As that distinction may suggest, practically every aspect of the film boasts superlatives.  The performances are exceptional.  Ted Tally’s adaption of the screenplay structures the film with the familiar beats of the hero’s journey, but provides enough twists to keep us on edge.  Jonathan Demme’s direction shows restraint and courage, and produces moments rife with tension, many of which do not exist on the page.  The characters, technical work, and writing all cooperate towards a single goal:  championing a theme of female strength and intellect in a world dominated by men, and the courage that it takes to confront true evil.

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“Silence” and the Personal Perdurability of Faith

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Silence is vintage Martin Scorsese.  The master’s techniques are evident in practically every frame, and his return to a religious subject matter is both fascinating and complex.  Nearly three decades ago, The Last Temptation of Christ showed that Scorsese was capable of delivering a nuanced treatise on spirituality, and he has done the same with Silence.  These topics are seldom tackled by Scorsese, so we should count ourselves lucky when the director is inspired by a story such as Silence, which has been in pre-production in some form for the last 25 years or so.

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“Hidden Figures” Chips Away at Bigotry with Intelligence

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There are specific and powerful images throughout Hidden Figures, but none exemplify the central theme of Theodore Melfi’s film more than two shots of a piece of chalk held by the main character.  This pregnant extension of Katherine Goble’s (Taraji P. Henson) brilliant mind is both an invitation for her to prove herself as a black woman in a world of white men, but an implicit challenge by those same men that she could never be their equal.  Though they are not connected dramatically, her struggles and successes are thematically connected with the successes of her peers, so that each separate woman’s respective strides become reverberations of the others, until the resulting din screams a single poignant truth:  the quality and content of a person’s mind is not determined by race, gender, or anything else so superficial.

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Interview: Michaël Dudok de Wit talks The Red Turtle

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Thanks to Courtney Small for assigning me this interview through Cinema Axis, Jen Gorman for arranging everything, and Mr. Dudok de Wit for the lovely conversation. On his recommendation, I am reading “The Famished Road” now! Interview available here.