Filmic whiplash has never been more exhilarating, intoxicating; once you feel surefooted, writer/director Graham Moore (“The Imitation Game”) has you spinning out of control, flying out of your seat, knowing you are experiencing the best film of 2022; viewers are incarcerated, on a snowy evening in 1956, Chicago; a tailor’s shop whose proprietor, an expat from London’s Saville Row, “Leonard” …
Read More »MINI MUSINGS ON SCREEN & STREAM
THE BATMAN (in theatres) If you have indulged in “Batman” mania this is one for the archives; he debuted in the March 30th 1939 issue of Detective Comics and has been portrayed on the screen by actors: Lewis G. Wilson, Robert Lowery, Adam West, Michael Keaton, Val Kilmer, George Clooney, Bruce Thomas, Christian Bale, Ben Affleck, plus a few fringe …
Read More »AFTER YANG (IN THEATRES) AND SOON TO BE STREAMING
One of the cruelest, heart-wrenching, valid portraits of grief, loss of a loved one, on today’s screen; it is the future and the family of three is suffering from the disintegration of a fourth member, of what was a nuclear brood; “Yang” (Justin H. Nin) an android, constant companion of “Mika” (Malea Emma Tajandrawidjaja) is loved and held dear by …
Read More »CYRANO (in theatres)
Edmond Rostand’s (1867-1918) 1897 play “Cyrano de Bergerac” loosely based on fact, romanticizing one cousin’s fatal attraction for another has assaulted the most hardened of hearts, leaving them weakened by its poetic effulgence. Director Joe Wright’s 2021 spin on the pungently prestigious tale is a masterful metaphor on idioms: “don’t judge a book by its cover”, “looks can be deceiving”, …
Read More »DEATH ON THE NILE (in theatres)
Kenneth Branagh’s second venture into Agatha Christie’s world of wealthy, smarmy miscreants as “Hercule Poirot”, a savant sleuth, whose flawless deductive reasoning is on full throttle; Branagh’s characterization of the brilliant, damaged, singularly virginal, mustached detective is starched perfection. Poirot has the meatiest role supported by a super cast on a flimsy diet of glamour, jewels and jazz: handsome reprobate, …
Read More »JOCKEY (in theatres)
Director Clint Bentley’s flawlessly compelling film pulsates with refinement as did 2017’s “The Rider”; there is nothing more satiating, or fulfilling than viewing a mistake-free movie as it races to its finality; “Jockey” with knowledge, sensitivity and truth gifts viewers the “inside scoop” of a jockey’s existence: dedication, starvation, bulimia, fractured bodies, camaraderie among peers, and the enigmatic bond, intimacy …
Read More »PARALLEL MOTHERS (SPANISH: ENGLISH SUBTITLES, IN THEATRES), SILENT WITNESS (AMAZON PRIME), BEING THE RICARDOS (AMAZON PRIME)
PARALLEL MOTHERS Pedro Almodovar devotees will be comfortably satisfied with his latest intriguing, imaginative display of filmmaking; relying on his ubiquitous actor Penelope Cruz (never disappoints) as an anchor for success; she is the quintessential professional and is intensely impressive in the role of “Janis”, a middle-aged photographer giving birth for the first time; costarring ingenue Milena Smit as “Ana”, …
Read More »THE TENDER BAR (AMAZON PRIME)
Most of us have an “aunt” or “uncle”, not always biologically related, but ubiquitous nonetheless, and forever in one’s corner; mine was “Aunt Sally” and in this tender-hearted film, based on the memoir by J.R. Moehringer and sensitively directed by George Clooney, Ben Affleck with depth, intelligence and feisty revere is “Uncle Charlie”, JR’s youthful sage, companion, an electrifying presence, …
Read More »THE LOST DAUGHTER (NETFLIX)
Those familiar with author Elena Ferrante (“My Brilliant Friend”) will recognize the labyrinth of complexities, especially contemporary women, endure; “Leda” is no exception; in the remarkable hands of first time director Maggie Gyllenhaal and sublime actor Olivia Colman, Leda’s layers of familial history unfold intentionally through flashbacks; young Leda depicted with alacrity by Jessie Buckley; the background for the unveiling …
Read More »LICORICE PIZZA (in theatres)
Miraculously on the 365th day of the year my faith in filmmakers was restored; an entire movie where the word “like” was not bastardized; young, prescient actors speaking line after line without using the egregious verbal “like”, “you know”, “uh” to express themselves; a lost art revived; yes, taking place in 1973, before oral crutches came to life but refreshing, …
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