Is 76-year-old Mike Leigh’s latest film “Peterloo” the most mundane film you will see this year? Probably. Which explains why it didn’t sell at last year’s Toronto Film Festival and is only now hitting theaters seven months later. Leigh’s argument that the events of “Peterloo” are more relevant today than ever before is quite correct. […]
I had hoped that Jason Reitman would steer his new political satire in the direction of “Wag the Dog” or “Primary Colors.” Surprisingly it’s closer to last years “The Post” (with quite a few scenes at Washington Post), and that’s a problem. “The Front Runner” (already taking flack for being “anything but”) is an exhaustively talkative movie that
Taking advantage of the politically charged and divided society, actor turned director Ike Barinholtz (Blockers) was inspired by his own family Thanksgiving conversation to write this script. The Oath isn’t the first film to try and make a profit off Trump era division, nor is it likely to be the last. One line in The Oath even uses the
Steven Spielberg, compelled by the parallels between 1971’s Pentagon Papers leak to The New York Times/Washington Post, and our current administration, he rushed new film The Post ahead of his expensive new sci-fi fantasy Ready Player One (2018). The Saving Private Ryan director brings film icons Meryl Streep and Tom Hanks together on the screen
Most projects that are gender flipped from male to female roles tend to work out pretty well. “Gravity” and “Flightplan” are just a few, but “Our Brand is Crisis” (produced by George Clooney and Sandra Bullock) is the first that strikes me as too focused on the gender swapping issue.
Perhaps screenwriter James Vanderbilt learned what not to do while working on White House Down (to his credit he also worked on the Zodiac screenplay), because his directorial debut Truth is quite a provocative piece of cinema. Truth dramatizes the events that led to the departure of CBS evening news anchor Dan Rather and