Traditionally, Christmas Day is movie mania, in my household; redundancy accomplished, at home, in pajamas with leftovers and my adult pacifier, the remote. “Wonder Woman 1984” was a wonderous flop, “unsalvageable” by Gal Gadot, Chris Pine; Kristin Wiig as the scatterbrained sycophant, “Barbara/Cheetah” phenomenally miscast (perpetually locked in “Bridesmaids” mode) served as comic relief, guffawing, fawning until her “wish” is …
Read More »THE MIDNIGHT SKY (NETFLIX)
I have an innate prejudice when it comes to dystopian, apocalyptic films; acknowledging their technological wizardry, the aftermath leaves me in a queasy, dissatisfied, jetlagged fug: “The Road”, “Total Recall”, “Mad Max”, “Oblivion”, “Children of Men” and in particular “The Lobster”, were so systemically oppressive, depressive; no matter the ills of the twenty-first century, it is a “far better world” than these futurist prognoses; …
Read More »AMERICAN UTOPIA (AMAZON PRIME)
A Covid Cure for 2020 and beyond; joy unexperienced since the world closed it doors, windows; shrinkage of entertainment venues and the intimacy of darkened halls, resurrected by “American Utopia” a visionary reminder of what once was and will rise again; palpable hope oozes from its prognostic pores; visionary David Byrne, a stylistic revivalist, an Elmer Gantry, preaching his code …
Read More »MA RAINEY’S BLACK BOTTOM (NETFLIX)
Chadwick Boseman’s (1976-2020) electrifying, meteoric, candescent depiction of “Levee”, a high strung, volatile trumpet player in August Wilson’s (1945-2005) award winning “Ma Rainey’s Black Bottom”, is pragmatically the “Virtuoso” of male performances this year; his physical diminishment, resulting in the magnification of a role, regardless of his health, written in the stars; crushingly grand is his every sentence, lithesome movements; …
Read More »AMMONITE (AMAZON PRIME)
Profoundly poetic. Director Francis Lee’s achingly pure love tale, starring Kate Winslet as paleontologist Mary Anning (1799-1847) and Saoirse Ronan as her lover, Charlotte Murchison is beautifully unsettling; the rawness of a landscape, accommodating to ancient fossils, unsympathetic to earthlings, intensifies the relationship between two outliers; misfits that bond over weeks spent probing for artifacts long dead, tainted only by …
Read More »THE PROM (NETFLIX)
Universally panned, especially James Corden for his stereotypical portrayal of a gay Broadway performer, which I did not find offensive; the major criticism heralded from the LBGT community on his interpretation (Director Ryan Murphy applauded) of “Barry”, Corden is straight. Desperately seeking positivity in this pejorative, superfluous imitation of a Broadway musical, focusing on four (including the aforementioned “Barry”) “over- …
Read More »Citizen Kane
My nascent exposure, in the mid 1980’s, to Orson Welles’ Homeric epic, “Citizen Kane” did not resonate as an iconic, monumental film destined, for archival prominence; almost forty years hence, with a matured aptitude, my sensitivities now grant it the lionization it has always deserved and for the most part received. Viewing “Mank” (previously reviewed) and knowing the war of …
Read More »MANK (Netflix)
Herman J. Mankiewicz (1897-1953) won an Academy Award (along with Orson Welles) in 1942 for Best Original Screenplay, “Citizen Kane” (loosely based on iconic businessman, Howard Hughes); controversy has shadowed their victory for decades and director David Fincher with punctilious attention addresses the conundrum of authorship in “Mank”; a project fathered by his dad, Jack Fincher (1930-2003), is brought to …
Read More »THE UNDOING (HBO) & HILLBILLY ELEGY (NETFLIX)
With skepticism, I ventured viewing “The Undoing”, thinking it was a glorified “soap” for the Covidly bored spectator; gleefully, my cynicism was vanquished at the conclusion of the first episode and kept me on tenterhooks for its entirety; primarily, because of the unprecedented performance by Hugh Grant as “Dr. Jonathan Sachs”, wallowing in the role of an accused murderer, he …
Read More »UNCLE FRANK (Amazon Prime)
There is nothing more disheartening, when a film initially exhibits gripping potential, only to lose its fizz at the midway point; Paul Bettany, Uncle Frank, is “intoxicating” as a gay Professor in New York’s avant garde milieu in the 1970’s; shunned by the mini-mentality of his family in South Carolina, his orientation found a harbor of acceptance, with the radical …
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