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 Mowgli: Legend of the Jungle — Directed by Andy Serkis.
I feel so bad for Andy Serkis. Back in 2014, Andy Serkis, who, in spite of some secondary or assistant positions on other films, had never directed a film before, was hired to direct Warner Bros.’ CGI-heavy version of Rudyard Kipling’s The Jungle Book. Though the studio had been in talks with prominent directors since 2012, it was Serkis who was eventually chosen to bring this film to audiences around the world. Continue reading “REVIEW: Mowgli: Legend of the Jungle (2018)”→
The following is a review of Netflix’s 22 July — Directed by Paul Greengrass.
Paul Greengrass’ latest, 22 July, is a film about the 2011 Norway attacks set in Norway, starring Norwegian actors who are all speaking English. Greengrass’ feature film is not to be confused with Norwegian director Erik Poppe’s 2018 film about the 2011 Norway attacks, Utøya 22. Juli (sometimes referred to as U: July 22), set in Norway, starring Norwegian actors who all speak in their native language. Continue reading “REVIEW: 22 July (2018)”→
The following is a short review of APOSTLE — Directed by Gareth Evans.
In 2011, Welsh director Gareth Evans rose to fame in the film community for his Indonesian action film The Raid: Redemption. After he had completed its sequel, Evans had become known for these elaborate and inventive action set-pieces. His latest film is not an adrenaline-fueled action film in the vein of his previous Indonesian efforts. Continue reading “REVIEW: Apostle (2018)”→
The following is a review of Private Life — Directed by Tamara Jenkins.
Tamara Jenkins’ Private Life is a dramedy about a never-ending pursuit of parenthood. The film follows a frustrated middle-aged couple — Richard (played by Paul Giamatti) and Rachel (played by Kathryn Hahn) — as they desperately attempt to become parents. Expensive medical procedures, adoption, egg donor — you name it and they’ve either tried or considered the method. When their desperation reaches a new high, the couple decides to ask Richard’s niece, Sadie (played by Kayli Carter), if she would consider being their egg donor, even though her family might be against it. Continue reading “REVIEW: Private Life (2018)”→
The following is a review of ANNIHILATION — Directed by Alex Garland.
There is this really sad quote about daring cinema that I once found as I was searching the Web for some interesting thoughts on the film industry. Actor and filmmaker Sean Penn reportedly once said that “if you put three thoughts into a movie, you’ve broken the law and no one will come [see it].” It is a quote that I’ve used before to describe cerebral cinema that was rejected by audiences. But I think the quote’s best companion piece is Alex Garland’s ANNIHILATION, a smart science-fiction film that was literally cast aside by a major studio because the film ‘broke that law.’ Continue reading “REVIEW: ANNIHILATION (2018)”→
The following is a review of The Outsider — Directed by Martin Zandvliet.
Winning an Oscar used to mean an actor would get a bigger push. It used to really mean something. But in the case of Jared Leto, who won an Oscar for his transformative performance in the mostly forgotten biopic Dallas Buyers Club, it hasn’t really meant that much, other than the fact that films like The Outsider can put ‘Academy Award winner’ on its poster. Continue reading “REVIEW: The Outsider (2018)”→