Kathryn Bigelow’s Detroit has an important story to tell, but what story is it?
At the heart of A Ghost Story is an audacious visual metaphor. Like many effective metaphors, it is so straightforwardly literal and even absurd that there is no questioning or cross-examining it; like Kafka’s cockroach, or like the pie scene, it challenges you either to shake your head and turn away, or else to take the plunge.
Dunkirk is the first film Christopher Nolan has made that feels bigger than the director’s preoccupations and obsessions.
Too often I find myself in the melancholy position of trying to articulate why a movie I ought to like doesn’t work for me. War for the Planet of the Apes poses the opposite challenge: This is a film that, on paper, ought to leave me cold, but instead seared into my mind like a house on fire.
No one almost destroys the universe or the planet, or even demolishes a large European city or a sizable chunk of a New York borough, in Jon Watts’ Spider-Man: Homecoming.
To call Despicable Me 3 desperate would be to ascribe too much effort and passion to the thing. Ice Age: Collision Course, now: There was a properly desperate sequel.
At this point it seems like too much to hope for that any Pixar sequel, let alone a Cars sequel, should function smoothly from start to finish, but at least it ends well.
I have never seen a movie work harder or more hopelessly than Universal’s new The Mummy, not merely to launch a new franchise, but to jump from a standing start into a full-blown Marvel-style shared cinematic universe in one go.
Movies like Man of Steel and The Lone Ranger misunderstand and besmirch their iconic heroes. This movie understands and reveres its protagonist. That’s worth a lot, especially today.
Even skeptics of the franchise must admit, I think, that the Pirates of the Caribbean films have generally aimed higher and been smarter than might have been expected.
Copyright © 2000– Steven D. Greydanus. All rights reserved.