The following is a review of Triple Frontier — Directed by J. C. Chandor.
From the director of All is Lost and A Most Violent Year, J. C. Chandor, and the writer of The Hurt Locker and Zero Dark Thirty, Mark Boal, Netflix’s Triple Frontier — named for the tri-border area of Argentina, Brazil, and Paraguay — includes arguably the most star-studded blockbuster-like cast for a Netflix Original Film yet. Continue reading “REVIEW: Triple Frontier (2019)”→
The following is a review of Captain Marvel — Directed by Anna Boden and Ryan Fleck.
It’s good to be Marvel. One year ago, the industry was still in shock over the huge success of Marvel’s Black Panther. Only one month later, Avengers: Infinity War would break many records and, along with Black Panther, make sure that the first six months of 2018 was owned by Marvel. Now, in March of 2019, Marvel Studios can finally say that it has Oscars to its name following Black Panther‘s historic wins at the 91st Academy Awards. Some things never change, we are now waiting for another huge Avengers-film. Continue reading “REVIEW: Captain Marvel (2019)”→
The following is a quick review of Isn’t It Romantic — Directed by Todd Strauss-Schulson.
Released in theaters on Valentine’s Day in North America and at the end of February on Netflix elsewhere, Isn’t It Romantic is a film about a woman tired of a stale film genre who, then, suddenly finds herself inside of such a film. The film follows Rebel Wilson’s Natalie, an Australian woman living in New York City whose mother turned her off romantic-comedies as they presented scenarios that ‘weren’t made for girls like them.’ Continue reading “REVIEW: Isn’t It Romantic (2019)”→
The following is a quick review of Paddleton — Directed by Alex Lehmann.
There is a way to sugarcoat and refuse to spoil what Paddleton is really about. I could tell you that it’s just about two old friends and neighbors playing some game they invented for 90 minutes. I could feed you some line about how it becomes surprisingly moving or something like that.
But, I’m not going to do that, because Alex Lehmann’s Paddleton essentially reveals its nature in its very first scene in which it is revealed that Mark Duplass’ Michael is suffering from terminal cancer. Paddleton, though — yes — named after the game that is two friends’ own invention, is a film about assisted suicide, saying goodbye, and reluctantly coming to terms with a loss. Continue reading “REVIEW: Paddleton (2019)”→
The following is a review of High Flying Bird — Directed by Steven Soderbergh.
Acclaimed filmmaker Steven Soderbergh rose to directorial stardom with Erin Brockovich and his Ocean’s-heist trilogy. In 2018, Soderbergh’s low-budget thriller Unsane was released to strong critical reception. What made that film so interesting was the fact that the entirety of the film was shot on iPhone 7 Plus cameras. Now, in 2019, Netflix has given Soderbergh a worldwide audience for his second iPhone-film High Flying Bird, a sports drama centered around an NBA lockout. Continue reading “REVIEW: High Flying Bird (2019)”→
The following is a review of Vice — Directed by Adam McKay.
In recent years, comedy filmmaker Adam McKay has successfully changed his reputation in Hollywood. He was once thought of as one of the great funny-man directors of the industry, with such films as Anchorman and The Other Guys. But with 2015’s The Big Short — a film about the financial crisis of 2008 — McKay became known for his unconventional techniques in covering a disastrous true story. It didn’t work for everyone, but, for the most part, I really enjoyed his first foray into this style of political filmmaking. Continue reading “REVIEW: Vice (2018)”→
The following is a review of Arctic — Directed by Joe Penna.
To some, Mads Mikkelsen, known outside of his home country for his roles in the NBC-series Hannibal and the James Bond-film Casino Royale, is the quintessential villain. A European character actor that, from time to time, takes on roles in blockbuster films and elevates the material. To others, like A. O. Scott once wrote, Mads Mikkelsen is the face of Danish cinema. The Copenhagen-born dancer-turned-actor has earned himself a strong reputation outside of Denmark, with such successes as winning the Cannes Film Festival Award for Best Actor for his performance in Thomas Vinterberg’s The Hunt. Continue reading “REVIEW: Arctic (2019)”→