When British filmmaker Sir Steve McQueen makes a film, you pay attention. McQueen has quietly become one of the best directors of his generation with critical darlings such as the perhaps underseen Michael Fassbender-led films Hunger and Shame, the Oscar-winning Solomon Northup-biopic 12 Years a Slave, and his 2018 heist film Widows, which did not get the awards attention it deserved. In 2020, McQueen released a collection of films — an anthology — titled Small Axe at film festivals and later on, for example, BBC or Prime Video (on the Danish Broadcasting Corporation’s streaming service in my territory).Continue reading “REVIEWS: Steve McQueen’s ‘Small Axe’ Film Series (2020)”
The following is a review of the sixth and final season of BoJack Horseman (Parts I and II) — Available on Netflix.
In the final season of BoJack Horseman, the titular character goes to rehab as he decides it is time to grapple with his own trauma and the trauma that he has caused. But sometimes it isn’t good enough to exercise personal growth, and BoJack Horseman (voiced by Will Arnett) may have to be put through the wringer by unrelenting gossip journalists that hope to ‘cancel,’ so to speak, our titular character.Continue reading “REVIEW: BoJack Horseman – Season Six (2019-2020)”
In honor of Thomas Vinterberg’s extremely moving acceptance speech last night, allow me to open with a reference to arguably his most famous film. There is a moment in Thomas Vinterberg’s Cannes Awards-winning Dogme-film Festen (international title: The Celebration), where the main character Christian (played by Ulrich Thomsen) asks his father, whose birthday is being celebrated, what speech he would like Christian to read for him — the green speech or the yellow speech? His father chooses the ‘green’ speech, and, as a result, the events of the unforgettable film take place. Sometimes a single decision can change everything. And, in the case of the 93rd Academy Awards’ ceremony, a decision was made that ultimately destroyed an otherwise decent ceremony.Continue reading “A Celebration or a Clusterfuck? My Thoughts on the 93rd Academy Awards”
In the memorable words of Billy Crystal: “It’s a wonderful night for Oscar. Oscar, Oscar. Who will win?” After a prolonged awards season, it’s finally time for the main course, the 93rd Academy Awards. This year, due to the limited studio output in 2020 as a result of the COVID-19 global pandemic, AMPAS extended the eligibility window to include films from the first months of 2021, which is why a film such as Judas and the Black Messiah is nominated already this year.Continue reading “Who Will Win the 93rd Academy Awards? Final Predictions”
Directed by Darius Marder — Screenplay/Story by Darius Marder, Abraham Marder, and Derek Cianfrance.
If I’m not mistaken, Darius Marder’s first narrative feature film, Sound of Metal, was originally slated to be released in Danish theaters in December of 2020. However, when all of Denmark’s theaters were then ordered to close due to another lockdown as a result of the COVID-19 global pandemic, the film was basically put in some sort of limbo. This week, on April 12th, 2021, I finally got the chance to watch one of my most anticipated films of the 2020 awards season, when it was released on Amazon Prime Video. In short, it was definitely worth the wait.Continue reading “REVIEW: Sound of Metal (2020)”
In this edition of my monthly movie and television catch-up article series titled ‘Additional Bite-Sized Reviews,’ I recommend an underseen horror film that I, however, have mixed feelings on, and then I tell you about my experience of watching the second season of Apple TV+’s Servant, which, I thought, didn’t advance the plot all that much.Continue reading “Additional Bite-Sized Reviews, Mar. ’21: ‘The Empty Man’ and ‘Servant’”
Directed by Patty Jenkins — Screenplay by Patty Jenkins, Geoff Johns, and Dave Callaham.
The highly anticipated sequel to Patty Jenkins’ 2017 film, Wonder Woman, has finally arrived in Denmark. The film was released in theaters around the world (and simultaneously on HBO Max exclusively in the United States) in December of 2020, but, a week, or so, prior to the theatrical release in Denmark, all Danish theaters were ordered to close due to the second wave of the Coronavirus global pandemic. At the time of writing, theaters are still closed. This also means that Wonder Woman 1984 eventually skipped Danish theaters entirely.
In the mean time, frustratingly, the film was not made available for premium-video-on-demand in Denmark, and it took the distributor this long to release the film on HBO Nordic. That’s right, almost exactly three months after it was released on a streaming service in the United States. But now, thankfully, that wait is over. I’ve finally had the chance to watch the sequel to the hit 2017 superhero film led by Gal Gadot. Unfortunately, while I appreciated the original film, this sequel just feels misguided.Continue reading “REVIEW: Wonder Woman 1984 (2020)”
Directed by Max Barbakow — Screenplay by Andy Siara.
I am a sucker for time loop movies, and, like most people, I have been a huge fan of these films since I saw Harold Ramis’ Groundhog Day as a kid and fell in love with the concept and the film. Although I had seen him in the original Ghostbusters film prior to my first viewing of Groundhog Day, his quintessential time loop classic from 1993 was actually the film that made me a true fan of Bill Murray.
Similarly, Edge of Tomorrow, another fantastic time loop film, boosted Emily Blunt’s career, and, though it may be too early to tell, the Happy Death Day-film series ought to do the same thing for Jessica Rothe. Every time loop film released after 1993 stands on the shoulders of Groundhog Day, and, even though Edge of Tomorrow and Happy Death Day are great films in the subgenre, there are many films that fail to build off of that formula in a satisfying way. Fortunately, Max Barbakow’s Palm Springs is a refreshing and timely (more on this later in the review) time loop film.Continue reading “REVIEW: Palm Springs (2020)”
Directed by Autumn de Wilde — Screenplay by Eleanor Catton.
Autumn de Wilde’s feature film directorial debut, Emma., is a romantic-dramedy period piece based on the 1815 Jane Austin novel of the same name, which has been adapted numerous times. Autumn de Wilde’s film takes place in the early 19th Century and it follows its privileged titular character, Emma Woodhouse (played by Anya Taylor-Joy), as she interferes with her friend’s love life. Her friend, the sweet but impressionable Harriet Smith (played by Mia Goth), is attracted to a Mr. Robert Martin (played by Connor Swindells). But, instead, Emma thinks that Harriet should pursue a romantic relationship with the local vicar, Mr. Elton (played by Josh O’Connor), even though it’s clear to everyone except for Emma and Harriet that he is actually attracted to the title character. Continue reading “REVIEW: Emma. (2020)”
Directed by Anders Ølholm & Frederik Louis Hviid — Screenplay by Anders Ølholm & Frederik Louis Hviid.
Shorta (which is apparently an Arabic word for ‘police’) is a Danish action-thriller about the so-called blue wall of silence, i.e. a tendency for police officers to withhold information and not report on their colleagues’ misconduct. The film follows two police officers — Jens (played by Simon Sears) and Mike (played by Jacob Lohmann) — who are on patrol. In the film, law enforcement has been asked not to go into the fictionalized ghetto ‘Svalegården’ since the last significant encounter between police officers and the inhabitants of Svalegården led to officers kneeling on the back of the neck of a young man, Talib Ben Hassi, who is, at the beginning of the film, in a coma. Continue reading “REVIEW: Shorta (2020)”