Tag: movie review

<i>The Laundromat</i> is a Bad Copy of <i>The Big Short</i>

The Laundromat is a Bad Copy of The Big Short

By:
11/07/2019

When The Big Short  was released in 2015, it should not have worked nearly as well as it did. It was trying to explain a complex issue within the constraints of a two hour movie while still providing an interesting narrative to keep the audience from getting bored. It had way too many storylines, most…

<i>The Favourite</i> is a Carnal, Comical Survival of the Fittest

The Favourite is a Carnal, Comical Survival of the Fittest

By:
12/06/2018

Beneath layers of starched pleats and prim petticoats, the trio of well-stationed women who animate the ornate corridors of director Yorgos Lanthimos’ latest have claws. But this is no mere cat fight: the ladies of Queen Anne’s England are obliged to stay sharp in the scheming context that Lanthimos constructs, a well-bred past wherein the…

<i>The Miracle Season</i> is Average, But in a Good Way

The Miracle Season is Average, But in a Good Way

By:
04/13/2018

There is a genre of film, often based on true stories, that is characterized by its coupling of heart-wrenching tragedies with inspirational tales of hope and redemption. The Miracle Season fits within this formulaic mold, but as far as tragedy-turned-triumph movies go, the film is a positive representation of cinema of its kind. Directed by…

<i>The Death of Stalin</i> Is a Darkly Funny Portrait of Political Chaos

The Death of Stalin Is a Darkly Funny Portrait of Political Chaos

By:
03/20/2018

Armando Iannucci is no stranger to biting political satire. The two works he’s best known for, BBC’s “The Thick of It” and HBO’s “Veep,” both possess a take-no-prisoners approach to mocking the petty machinations and manipulations of the British and American political systems. With his most recent work, “The Death of Stalin,” based off a…

Precise and Vivid, <i>Foxtrot</i> is a Striking Love Letter

Precise and Vivid, Foxtrot is a Striking Love Letter

By:
03/20/2018

Foxtrot begins with a faint. Men in uniform have come to the home of affluent Tel Aviv couple Michael and Dafna (Lior Ashkenazi and and Sarah Adler, respectively), their arrival a tacit announcement of tragedy: Michael and Dafna’s son has fallen in the line of duty. Backdropped by art that looks like grief itself—a framed…

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