There seems to be no reason for the title Ad Astra, meaning “to the stars,” to be in Latin, except to highlight writer–director James Gray’s elevated intentions.
Many movies have made me cry. Very few have been as difficult or impossible even to write about without crying as Nanfu Wang and Jialing Zhang’s brilliant, devastating Sundance Grand Jury winner One Child Nation.
Quentin Tarantino’s gifts are impossible to deny, but while I often find his set pieces mesmerizing, I have yet to fully buy into one of his films. This might be the closest one yet, though.
Why does Robin Hardy’s disquietingly cheery 1973 British folk-horror classic The Wicker Man work better than this sophomore film from the writer-director of Hereditary?
Fans of NPR’s This American Life already knew that Lulu Wang had an extraordinary story. What we now know is that she is also an extraordinary filmmaker.
For the first time, Pixar has made a Toy Story movie that adds nothing essential to the arc of the previous films. It’s still worth seeing.
I mean, you can kill them, but that’s not the point. The question is, were they ever alive in the first place?
It’s come to the point where the mere sight of the Illumination logo makes me think “lazy and scattershot.”
“Honor, greetings and blessings to you, conquerors of the moon, pale lamp of our nights and our dreams!” Paul VI exclaimed in his July 21 message to the astronauts on the day after the lunar landing. “Bring to it, with your living presence, the voice of the spirit, the hymn to God, our Creator and our Father.”
Alas, the mission wasn’t to improve The Lion King, only to mount it as realistically as possible. Favreau wasn’t hired as a creative, but as a taxidermist.
Copyright © 2000– Steven D. Greydanus. All rights reserved.