Tag: gia coppola

‘TÁR,’ ‘The Last Showgirl,’ ‘The Bikeriders,’ ‘Queer,’ and ‘Sonic 2’ | Bite-Sized Reviews

Top Row (L-R): TÁR (Focus Features/Universal); The Last Showgirl (Roadside Attractions); The Bikeriders (Focus Features/Universal).
Bottom Row (L-R): Queer (A24); Sonic the Hedgehog 2 (Paramount Pictures).

We’re getting towards the end of the year, and so now seems like a good time to assemble some of my thoughts on some films that didn’t ultimately get a full solo review dedicated to them, even though I had something to say. So, here we are, today I’ll share my thoughts on 1) one of the most celebrated films of the decade thus far, 2) Gia Coppola’s Pamela Anderson-vehicle, 3) Jeff Nichols’ film about biker culture, 4) Daniel Craig’s first performance in a Luca Guadagnino film, and 5) a sequel to one of the most popular video game adaptations. Do note that if you are so kind that you also follow me on Letterboxd, then you may have seen some of these bite-sized reviews over there already. Let’s get to it!

Continue reading “‘TÁR,’ ‘The Last Showgirl,’ ‘The Bikeriders,’ ‘Queer,’ and ‘Sonic 2’ | Bite-Sized Reviews” →

‘Guy Ritchie’s The Covenant (2023),’ ‘Red, White, and Royal Blue (2023),’ ‘Haunted Mansion (2023),’ ‘Clerks III (2022),’ and ‘Mainstream (2020)’ | Bite-Sized Reviews

(L-R) Haunted Mansion (Walt Disney Studios Motion Pictures); Guy Ritchie’s The Covenant (Metro-Goldwyn-Mayer); Clerks III (Lionsgate); Mainstream (IFC Films); and Red, White, and Royal Blue (Amazon Prime Video).

In this edition of Additional Bite-Sized Reviews, I take a look at a handful of films that I checked out over the last couple of months. These films were interesting enough for me to have formulated notes about them that never materialized into extensive singular reviews — instead, here they are in bite-sized form. Are any of these worth your time? Well, let’s have a look.

Continue reading “‘Guy Ritchie’s The Covenant (2023),’ ‘Red, White, and Royal Blue (2023),’ ‘Haunted Mansion (2023),’ ‘Clerks III (2022),’ and ‘Mainstream (2020)’ | Bite-Sized Reviews” →