Adam McKay has become an auteur in the worst way. His films, boasting large casts and “important issues”, talk down to the viewer, patronizing his audience under the veil of entertainment. His latest “Don’t Look Up” for Netflix is the least articulate of his recent best picture nominated films (“Vice”, “The Big Short”). Early scenes […]
The opening of this film set me up for disappointment with an extended battle in dim light in which the characters are not recognizable. Suddenly, there looms a glorious, colorful view of the island of Berk, and things began to look up. What follows, however, is the least interesting story of the three Dragon movies. Here, the challenge for
Jonah Hill is now a filmmaker. The Oscar-nominated actor (The Wolf of Wall Street) has joined the slew of young actors sliding into the director’s chair. The vile, immature antics we’ve come to expect from Hill on screen (Superbad, 21 Jump Street) are still here in this skateboarding nostalgia trip appropriately titled Mid 90’s. It doesn’t
Gus Van Sant is the textbook definition of a hit-or-miss director. He’s had award-winning hits like “Good Will Hunting” and forgettable snoozefests like “Gerry.” The one thing you can always count on with Van Sant is a challenging film. “Don’t Worry He Won’t Get Far on Foot,” perhaps the most obnoxious title of the year,
The humanization of Batman (Arnett) turns out to be very funny with glitzy animation and some substance to the message. As evidenced by audience reaction at the screening, those familiar with DC comics will get many references that fly past those of us who are uninformed. But even for those unfamiliar with all the Batman
In many ways Todd Phillips new film War Dogs follows the marketing principle of last years The Big Short. It’s all comedy and energy in the trailer, about two young goofy arms dealers. Ticket buyers are likely to feel the bait and switch, since Phillips trilogy The Hangover is used as a lure. Like The
The Coen Brothers latest film, “Hail, Caesar” is a really good B-movie. It’s always been hit and miss with the Oscar winning duo (No Country For Old Men), known for their work in writing as much as directing. You look at their filmography and it’s literally as if someone turns the light switch on and
By all accounts, True Story should have been a gripping, taught trifecta of brilliant performances. After all in the previous two dramatic films (The Wolf of Wall Street, Moneyball) comedian Jonah Hill landed him Oscar nominations. True Story is director Rupert Goold’s first feature and the first film for Felicity Jones post Theory of Everything