Writer whose influences include Ingmar Bergman, '40s film noir, '50s musicals, neorealism, and Full House.
Don’t forget to select your favorite films!
I don’t know how much of this I’m going to sit through, but the CGI babies in the opening are even worse than the CGI baby in FAMILY SWITCH, and it’s depressing that I watched two films with poorly rendered CGI babies in the same day.
DC wants to be Marvel so bad. Also it sucks and I’m sure will get even worse once I reach the endless callbacks and cameos.
Awful but didn’t hate it! It’s “better” than CANDY CANE LANE at least. McG’s aggressive directing is obnoxious but adds energy, Garner is aways likable and game, and the kids aren’t bad! The quick 90-ish minute runtime helps.
Another smug, pandering, product-peddling eye roll of a family film without a lick of wit or charm. It follows FREAKY FRIDAY too slavishly, not adding anything fresh to the formula (unless you count some really gross and unnecessary toilet humor).
But again, not the worst streaming original I’ve seen all year so that’s something.
Whoo, I have Thoughts™️.
It’s fine but ultimately rubbed me the wrong way. Keep in mind I’m not much of a Jonathan Larson fan - his era-defining smash RENT is unfinished, ranges in quality from brilliant to mediocre, and would never have achieved its iconic show-of-a-generation status if not for its creator’s tragic and untimely death.
The chief problem with this movie is that it’s one insufferable egotist (Lin-Manuel Miranda) paying tribute to another (Larson). I’ve always found Larson a…
Vapid and hollow to the core. I think it’s time we discussed the stanning of A24 as a company - once a mandate-less indie studio eager to take on emerging filmmakers of any genre/aesthetic, they now seem to have a calculated brand designed to appeal to Very Online™️ film Twitter and Letterboxd denizens.
It’s all there. The neon. The chunky film grain. The droning Mica Levi score. ZOLA is desperate to let the audience know how effortlessly cool and nonchalant…