Directed by Chloé Zhao — Screenplay by Chloé Zhao, Patrick Burleigh, Ryan Firpo, and Kaz Firpo.
Although their films are immensely popular, it isn’t every day that Marvel Studios work with Academy Award-winning film directors, which makes Eternals special even on paper. Chloé Zhao, the Chinese-born acclaimed filmmaker behind Best Picture winner Nomadland, did, however, choose to have a major superhero blockbuster film be her follow-up to her poetic Oscars-favorite. In my experience, Zhao’s films (of which I think The Rider is probably her best work), which often feature non-actors, are defined by their open landscapes, contemplative themes, and an unshakable feeling that her narrative films are documentary-like. Therefore, this superhero epic is almost certainly her most accessible film, but it is also true that it feels different than most Marvel Cinematic Universe (MCU) films. Frankly, while there is a lot that I like here, I think Eternals ended up being a little bit too ambitious for its own good.
In this edition of my monthly movie and television catch-up article series titled ‘Additional Bite-Sized Reviews,’ I talk about my experience of trying to catch-up on some of the 2021 films released earlier this year, including an entire trilogy of films! What did I think about the Fear Street-films? Is the Rear Window-inspired flick, The Woman in the Window, worth a watch? Is Bad Trip, the hidden camera comedy, funny enough for its runtime? Are Doug Liman and Alexandre Aja’s latest films any good? Well, scroll down to find out in another jam-packed edition of Additional Bite-Sized Reviews!
Directed by Adam Wingard (‘The Guest’; ‘Blair Witch‘; and ‘Death Note‘) — Screenplay by Eric Pearson & Max Borenstein.
Versus-films are certainly nothing new. Films with titles such as Godzilla vs. Kong will probably always make me think of Paul W.S. Anderson’s Alien vs. Predator and its tagline: “Whoever wins, we lose,” which, in turn, makes me think of both Ronny Yu’s Freddy vs. Jason and Zack Snyder’s Batman v Superman: Dawn of Justice. None of those films are necessarily highly regarded by the vast majority of film critics, though I enjoy a couple of them, but there is of course one versus-film that trumps them all, Robert Benton’s legal drama Kramer vs. Kramer. That Oscar-winning masterpiece, which is nothing like the aforementioned films, is however, to put it mildly, an exception to the general rule, which is that versus-films are — at least now — mostly known as these show-stopping mash-up popcorn films. That is certainly the case with Adam Wingard’s latest film. It is, as one expected, nowhere near as good as Benton’s film, but it is, however, better than most of the other films that I’ve mentioned in this paragraph. Because Godzilla vs. Kong is a fun popcorn movie, which, with these kinds of blockbusters, is all you can ask for.
A couple of weeks ago, I presented my readers with a list of films or shows to binge-watch during your self-isolation due to the current coronavirus pandemic. I decided to focus on shows that I had not previously reviewed, or had no intention of reviewing. Since the pandemic has not come to an end, I thought it would be a good idea to recommend some extra options. So, today, I present you with another small handful of binge-watching options, none of which I have previously reviewed on this site. Continue reading “What To Watch During the Coronavirus Pandemic, Part II – Special Features #68”→
Some people in the industry may have been questioning the future viability of Marvel’s Cinematic Universe after the incredible infinity saga came to an end recently. If Spider-Man: Far From Home didn’t convince the naysayers, then what Kevin Feige and Marvel Studios announced last night certainly did. Today, let’s talk about the Marvel Studios announcements at the 2019 San Diego Comic-Con. Continue reading “Feige Announces MCU Phase Four at San Diego Comic-Con – Special Features #54”→
The following is a review of Spider-Man: Into the Spider-Verse — Directed by Bob Persichetti, Peter Ramsey, and Rodney Rothman
The late, great, legendary film critic Roger Ebert opened his review of my favorite Spider-Man film, Sam Raimi’s Spider-Man 2, with the line: “Now this is what a superhero movie should be,” a sentence that feels pretty appropriate to use today when describing the first of, likely, many theatrically released Sony Pictures Animation Spider-Man-related films because Into the Spider-Verse is a special movie in virtually every way imaginable. Continue reading “REVIEW: Spider-Man: Into the Spider-Verse (2018)”→
The following is a review of Widows — Directed by Steve McQueen.
Based on Linda La Plante’s 1980s crime drama of the same name, Widows is only the fourth feature film from Academy Award, BAFTA Award, and BFI Fellowship-winning film director Steve McQueen, who has now teamed up with crime writer Gillian Flynn (Gone Girl & Sharp Objects). After having made films about Irish history, sex addiction, and the American history of slavery, McQueen’s latest film tackles themes such as class, politics, and gender via an audience-pleasing genre. Continue reading “REVIEW: Widows (2018)”→