If Scream (1996) was the ultimate post-modern horror film, then Halloween (2018)—a re-sequel that rewrites, while simultaneously paying tribute to, all that came after the iconic original—might be the ultimate post-post-modern horror film. I could dig it, especially the satisfying ending. But where could David Gordon Green and company go from there? The answer: a quaint, clumsy post-9/11 cautionary tale about, you know, society becoming a monster to stop a monster. From both a storytelling and thematic standpoint, Halloween Kills…
This nearly three hour finale splits the difference between the best entries of Mr. Weisz’s tenure as James Bond (Casino Royale, Skyfall) and the worst (Quantum of Solace, Spectre): “No Time to Die” is a great title, and the action set pieces are fantastic (particularly the first in Acropolis); but Lea Seydoux is no Eva Green (not by a long shot), and Rami Malek has now earned my vote for today’s most overcast actor (although Timothee Chalamet may take that title over the next several weeks),
The narration has all of the nuance and poetry that you’d expect from a recently retired pro basketball player whose ego just can’t be stopped and who desperately wants the post-#metoo world to forget all the rape-y stuff. The animation by Glen Keane (Tangled (2010)) was positively groundbreaking when it appeared in an A-ha video over three decades ago. And so this six-minute commercial for the post-NBA Kobe Bryant brand is nothing less (or more) than a triumph for his publicity team and a perfect reminder of what the Oscars (and Hollywood) are really all about.
Hoop Dreams, anyone?
It's 2016. Among our prime A-listers, we don't have a Fred Astaire or Ginger Rogers; hell, we don't even have an Olivia Newton-John or John Travolta. What we do have is Emma Stone and Ryan Gosling (Crazy, Stupid, Love (2011), Gangster Squad (2013)) and a talented director (Damien Chazelle) who has the audacity to create an original musical in 2016 (as opposed to adapting/stewarding a Broadway franchise). With Chazelle's invocation of nostalgia for a once dominant cinematic form and generous…