Yeah, it’d great if Amy Schumer’s latest feature film had narrative beats that were as bold as its central conceit. And perhaps Schumer’s unique brand of square-peg feminism plays best in a short-skit format. But I have to say this is my favorite of her starring turns, as it feels most like an expression of Schumer herself (a comic who’s always been self-depricating in a way that only a woman who knows she’s got game could be). And it’s pretty entertaining to see/hear Michelle Williams having this much fun.
It's 2016. Among our prime A-listers, we don't have a Fred Astaire or Ginger Rogers; hell, we don't even have an Olivia Newton-John or John Travolta. What we do have is Emma Stone and Ryan Gosling (Crazy, Stupid, Love (2011), Gangster Squad (2013)) and a talented director (Damien Chazelle) who has the audacity to create an original musical in 2016 (as opposed to adapting/stewarding a Broadway franchise). With Chazelle's invocation of nostalgia for a once dominant cinematic form and generous…
After an unnecessary remake, an above-average biopic, and an adaptation of a half-baked short story, it’s damn good to see director David Fincher back on his game – or I should say, The Game (1997), because that’s Gone Girl‘s closest touchstone to any of his other films. That said, Gone Girl works much better as exercises in role-playing go, and the difference is Gillian Flynn – the author of the best-selling novel and sole writer of the screenplay. Together, they craft pulp fiction of the highest order ... aflixionado.com/gone-girl-2014/.