A very wise man has crafted a theory about a formula, ever present in Disney animated films and doubly so in Pixar movies of late. The Grumpy/Spunky formula paints the picture of an eager main character teaming up with a grounded reluctant companion journeying to a far off destination to affect some plot important change in the prior. Coco, much like Inside Out and Moana before it, once again sets its protagonist out on a seemingly similar journey, but what follows is one of the best crafted family focused tearjerkers in years.
Category: Reviews (Page 1 of 3)
Anyone who is familiar with my particular brand of nerd-dom knows where I land on the eternal struggle between Marvel fans and DC fans. I’m not hardline enough to completely ignore or blast DC products based on seeing the logo alone but I can’t deny my negative perception. If this was borne out of pure spite, that would be one thing, but the fact that DC has only produced one fantastic, post-Nolan film, is my main cause for concern. So far, we’ve been treated to bloated, CG slugfests, with little-to-no plot and hollow versions of some of the most iconic characters in comic book history. Justice League takes a few steps in the right direction but still feels like the product of a system that doesn’t quite understand what they’re trying to achieve.
I know. Another Marvel movie. How many of these dang things can they make? Aren’t they worried about fatigue? People being burnt out on what always promises to be the “Best Marvel movie yet!” How is it possible that they can justify this glut of films that end up being driven by the exact same formula, just with different heroes and backup dancers?
*Takes quick look at Thor’s projected weekend box office*
Dunkirk, the latest from acclaimed filmmaker Christopher Nolan and the most recent movie to be based on the War that keeps on giving, is an unrivaled spectacle of film making. This visual tour de force covers the 1940 Dunkirk military evacuation from three different perspectives (land, air and sea) and interweaves those viewpoints with Nolan’s signature disjointed timeline to create a somewhat confusing but ultimately run of the mill narrative. This movie doesn’t set out to say as much as it does to show, but what we see as an audience is breathtaking from start to finish.
Since its premiere at Sundance, The Big Sick has been a gigantic ball of positive buzz. Based loosely on the story of how star Kumail Nanjiani and his real life wife Emily V. Gordon started their relationship, The Big Sick relies on the comedic talents of Kumail to produce one of the funniest romantic comedies to date, and it does all of this without sacrificing the romantic side of the genre. With all that buzz, it is kind of difficult to lock down exactly what The Big Sick sets out to be. Is it a drama about modern healthcare, a political examination of race and relationships, an attempt to redefine what is it that the American dream has become? Surprisingly, and luckily for audiences; all of the above.
So here we are again: another reboot of the Spider-Man franchise. This 3rd live action version in the last 15 years has a lot stacked against it, battling the fatigue that surrounds a film industry hellbent on sticking to remakes, re-tellings and sequels. Luckily, these perceived hurdles end up working in favor of what narratively ends up being the most unique and well made entry into the cinematic history of old web-head!
Last Wednesday, while I was getting my mind blown by the perfection that was Baby Driver, Netflix released its latest and highly anticipated movie, Okja. Pulled from the creative recesses of the radical mind of Bong Joon-ho (Snowpiercer, The Host) Okja sets out to shed light on our global reliance on genetically modified organisms for consumption by introducing us to a friendly, intelligent, computer generated super pig.
Edgar Wright is a name that often elicits dumbfounded looks from the uninitiated and joyful, near-aneurysms from his loyal fans. Saying he’s one of the best directors working currently wouldn’t be a stretch but that highly coveted name recognition has been just beyond reach. With his latest movie, Baby Driver, in theaters this week, Edgar Wright is poised to be one of the most recognized names in Hollywood, not because this is his best film to date but because this is the best movie to come out this year.
It’s fair to say that Gal Gadot and Wonder Woman was the brightest spot of the lucrative train wreck that was Batman v. Superman: Dawn of Justice. Her radical hero reveal music alone was worth the price of admission and her ability to steal the show from two of the biggest comic book heroes in the world generated all the buzz her solo movie could ever need. Fast forward to June 2nd, 2017 and although the film world may not be dramatically changed, the DCU does finally have an enjoyable movie under its belt and what appears to be a commercial and critical success.
From the outset, Guardians of the Galaxy: Vol. 2 has all the makings of a hit. A sequel to a gigantically, if not surprisingly, successful movie, the latest from the Marvel Studios hit making machine, the middle movie in a planned trilogy, and the film that essentially kicks off the 2017 summer movie season! And like most situations where an expectation exists, the likelihood that the exact opposite will happen is staggering, the aforementioned success of the first film being a prime example. So, the fact that Vol. 2 met and exceeded my personal expectations is a feat worthy of applause and all of your time and money. How it achieved this “lofty goal” however is what makes this movie so enjoyable.