Reflecting on the past, Battle of the Sexes recounts a tremendously positive turning point in women’s sports. Drawing parallels to the present, the film also stands tall as a pertinent message film where one can compare the amount of progress towards gender equality in 44 years. Injecting earnest drama and profundity into the tried-and-true sports movie formula, directors Valerie Faris and Jonathan Dayton have crafted a gratifying yarn packed with contagious enthusiasm.
Read MoreThe opening number makes the single-take climax fight with Charlize Theron in Atomic Blonde look like a box waltz lesson from an elementary school gym class. The woman is the reckless assassin Sook-hee, played by Ok-bin Kim of Thirst, and the scene ends with a hint of a deranged smile of glee. The Villainess spins with dynamic energy of wanton mayhem and operatic displays of graphic violence when the talking stops and confrontations begin.
Read MoreThere is extreme thematic and visceral content in mother! that will rattle even the toughest souls. Metaphorical imagery and symbolism are everywhere, and the number of literal and figurative interpretations of what is implicitly or explicitly transpiring can kill as many brain cells as it multiplies. The film begs endless questioning. Surviving and absorbing the film becomes a maddening experience. In the end, what is evident to celebrate is also categorically impossible to fully condone.
Read MoreI joined Jeff York recently as his guest for a special 20th-anniversary 35mm screening of 1997's Oscar-winning L.A. Confidential at the storied Music Box Theatre as part of the Noir City Chicago Festival. As an added treat, author James Ellroy was in the house to kick things off with an expletive-laden bang. After the screening, he and I hunkered down in Frio Gelato near the theatre to share our admiration and examination of Curtis Hanson's masterpiece.
Read MoreIn a terse 80 minutes, The Long Night of Francisco Sanctis locks its suspenseful build and holds your attention. Open-ended as it is, the film could have employed additional time to hammer its points home and offer a payoff. However, it’s minimal surface and suddenness feels intentional to mirror the mysterious fates that befell so many people of this era. Quietly powerful, the effect and feeling are convincing.
Read MoreWeinstein writes and directs what constitutes as a love letter to a culture, a community, and to the essence of fatherhood. The lead’s personal plight is a compelling one done with grace and admiration for attaching the right layer of empathy. It’s not overly heavy in any particular way, but Menashe carries enough honesty, enough will, and enough power to break any father’s heart. There’s strength to be found in that.
Read MoreThe phrase “nuns behaving badly” sounds like a bad porno title or a silly hashtag. Alas, that’s the low-hanging fruit and chicanery afoot in The Little Hours. Tracing inspiration to a yarn from one of Giovanni Boccaccio’s collected 14th century novellas in The Decameron, the new ensemble film from Jeff Baena wraps it religious habit up with wit, erotica, and practical jokes from Italian prose translated into a modern vernacular.
Read MoreWelcome to the polarizing gamut of engagement, acceptance, and disquiet of A Ghost Story. This is a wholly original film that takes preparation, patience, absorption, and reflection that some, or even many, may not be ready for. Presented in the rounded and claustrophobic corners of a centered 1.33:1 aspect ratio, it is safe to say, you will see nothing like this all year and maybe several more.
Read MoreBy definition, a punchline is “the words at the end of a joke or story that make it funny or surprising.” Superb comedians dream of finding good ones they can wrap a story around and always refining their material for the right comedic effect for their audiences. The Big Sick can confidently boast a self-evident punchline that lasts for over two hours and never runs out of the funny or the surprising.
Read MoreThe films of Edgar Wright pulse with a signature flair for visual comedy built on wildly imaginative stylings in the areas of music, framing, camera movement, sound effects, and editing. His creative trickery wins for looks, but it also constantly advances the storytelling at hand. For that and so much more, Baby Driver is first-rate example of a kinetic film and joins the top ranks of Wright’s filmography.
Read MoreThe transitive verb “beguile,” as defined by the Merriam-Webster Dictionary, means “to engage the interest of” or “lead by deception.” Hoodwink and divert are synonyms. Director Sofia Coppola’s remake of The Beguiled means to charm our corsets and britches off right in line with its title’s root definition. Methodically and dastardly, the film wishes to seduce us with a heightened intrigue of challenged sexual repression.
Read MoreThis writer is an unabashed film music lover. I owned more film score CDs than ones of popular music back in the day and that ratio hasn’t changed with digital media. Hell, I wrote a long-form editorial three years ago proclaiming film music as an improvement of the Mozart Effect for babies and children which led to a playlist afterwards that I still use to this day. I am a mark for what Score: A Film Music Documentary was selling and many of the names and talents featured in the film are found on that personal playlist.
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