Silverman did nothing wrong.
"You're my brother."
While the narrative falls repeatedly into using the typical biopic tropes (they even do the thing where the protagonist talks to "ghosts" like WALK HARD), ROCKETMAN is saved mainly due to the imaginative and fantastical musical numbers throughout. The theatricality of using the songs as part of the plot rather than performed for the sake of performing really heightens a lot of emotion that kept me engaged throughout. It also helps that the film is centered by…
A feature length video game cutscene.
This film is technically perfect. Deakins and Mendes craft some utterly amazing setpieces. There’s a sequence that takes place at night which had my jaw dropped for the entire sequence. Newman’s score is also gripping and beautiful.
Unfortunately, the “one-take” bit runs out of fuel quickly, and it starts to feel like a gimmick which suffocates the simple narrative and becomes quite one-note, with each scene following a predictable rhythm.
George MacKay is a star in the making (he’s gonna be big), and this is bound to win all of the technical awards at this year’s Academy Awards.
Robert Eggers’ follow up to the instant classic THE WITCH is a profoundly strange and maddening film. The craft on display is immaculate - the cinematography is gorgeous, the sound design (that foghorn) heightens the mood a great deal, the score is perfect, and Pattinson and Dafoe are both astounding in their roles (I could personally listen to Dafoe speak like a sailor for hours).
The main issue I had with the film is it’s not really a descent into…
“Oh, it was great.”
Yep, bumping it up to the full five. Not being wrapped up in the plot and just being able to sit back and enjoy it, I was able to pick up on many more cues and hints I missed the first time around. Goddamn, Johnson’s script is pitch perfect.
Also every single thing Michael Shannon says is golden.
CATS killed cinema.
I expected to hate CATS, but not in the way I did walking out of the theater. I knew the film was going to be visually grotesque and, like the musical, incoherent in every possible way, but I at least expected to have fun with something so trashy. Instead, CATS is painfully and dreadfully boring.
The concept of dancing cats singing their way to heaven is weird as hell, and should’ve opened up many opportunities to create…
I am not afraid of storms, for I am learning how to sail my ship
Greta Gerwig is 2 for 2 in my book. The same wonderful story is structured in a way that revitalizes the material and makes it feel fresh and new. Everything in it - production design, performances, score - are all immaculate and full of heart and spirit.
Florence Pugh and Chris Cooper MVPs.
Lowkey where do I get one of those Furby’s..
UNCUT GEMS is basically a two hour panic attack. The pacing and editing in this thing are relentless - it’s a miracle the Safdies keep it consistently engaging and thrilling through the entire runtime. My mom and sister hated it because it gave them headaches.
Sandler has never been better, and everybody else brings their A-game (Julia Fox is a star, and Kevin Garnett legit holds his own??)
I need a nap.
Welp, RISE OF SKYWALKER is a big ol mess. Instead of following down the path Rian Johnson laid out in THE LAST JEDI, JJ Abrams decides to twist and turn the events and revelations of that film to add as many fan service-y gimmicks and motifs as possible. Much of this is done within the first half of the film, where Abrams and crew rapidly hop from one scene to the next without any rhythm or time to let certain…
I’m being torn apart.
Watching this right after the Original Trilogy definitely made me catch more of the nostalgia-baiting and many callbacks to ANH, but even if it’s familiar, the new character introductions are stellar and it crafts an intriguing start to the trilogy.
The moment where the lightsaber flies into Rey’s hand - the reveal, the swelling of the music - all time SW moment.