Directed by Scott Cooper (Hostiles) — Screenplay by Scott Cooper.
Netflix’s first major film release of 2023 is Scott Cooper’s (very late entry into the 2022 movie year) The Pale Blue Eye. The film, which is based on a historical fiction novel of the same name from author Louis Bayard, features an incredibly well-known author, Edgar Allan Poe, as a character that is integral to the narrative, and it should go without saying that the film does not come close to becoming even a little bit as notable as the author the creatives have built a fictional mystery around. That would be a tough ask, to be honest. Still, though, this is a pretty decent crime thriller, even if it won’t end up on many best of 2022 lists.
Directed by Lin-Manuel Miranda — Screenplay by Steven Levenson.
Hamilton-creator Lin-Manuel Miranda’s tick, tick… BOOM! is based on the Jonathan Larson musical of the same name and it tells the story of Jonathan Larson’s time as an aspiring composer and playwright in New York City in the early 1990s. Larson (played by Andrew Garfield) is about to turn thirty years old, and he is worried that he is about to miss his moment. While he is juggling paying his bills, working on his relationship with his girlfriend, Susan (played by Alexandra Shipp), and working as a waiter in a SoHo diner, he is also trying to complete his musical Superbia, which he has been working on for eight years, before it is to be presented a couple of days prior to his birthday. But Larson finds it difficult to find time for everyone in his life as he can constantly sense that time is ticking away inside his head.
The following is a spoiler review of Once Upon a Time in Hollywood — Directed by Quentin Tarantino.
Quentin Tarantino has claimed that he will only direct ten feature films, and, since he considers his latest film to be his ninth, that puts a lot of pressure on this penultimate effort as a director. Having just recently rewatched and reviewed his filmography as a director, I had prepared myself for this undeniable event film for cinephiles. When I walked out of the theater, I had a soft smile on my face, and I kept on repeating these words to my mother and sister, who had seen the film with me: “I think this is his most moving movie yet.” Once Upon a Time in Hollywood is tense but also laidback, sometimes violent but generally quite kind, and much to my own surprise, as Tarantino ended his film, I had a lump in my throat — I got a little bit choked up. Continue reading “REVIEW: Once Upon a Time in Hollywood (2019)”→
The following is a review of The Favourite — Directed by Yorgos Lanthimos.
When I first saw the brilliant-but-beautifully-absurd The Lobster a couple of years ago, I was wildly impressed with this ‘new’ director that I thought I had come upon. That was an extremely assured but absurdist-to-the-bone English-language debut, and he followed it up with The Killing of a Sacred Deer, which is another successful but very odd film. I’ve enjoyed both of these English-language films, so I was, naturally, intrigued by his next inspired and auteurist foray into English-language filmmaking — The Favourite. Continue reading “REVIEW: The Favourite (2018)”→
The following is a review of Darkest Hour — Directed by Joe Wright.
Darkest Hour — not to be confused with The Darkest Hour, a 2011 alien invasion movie set in Russia — is the newest film from British director Joe Wright, who is behind such films as 2007’s beautiful, heart-wrenching, and soul-crushing Atonement. Continue reading “REVIEW: Darkest Hour (2017)”→