The first half of this is great! The second half is pretty ok!
The music (mostly) slaps.
It had been years since I had last seen this and I had forgotten some of the more, uh, problematic elements but ultimately this one still such a pop culture touchstone and defines so much of my nostalgia that it's kind of a pleasure to have it confirmed that it's still legitimately great.
This is not as good as the first one, but it’s a worthy follow up.
Also, between this and Into the Spider-Verse maybe we should just admit collectively that all superhero movies should have been animated. The action in this is far more compelling and well shot than almost anything live action setpiece I can think of.
Sometimes you see a movie and there’s an actor who you have never seen before who you think “holy crap, where did that person come from?”. They give a performance that you love and maybe it becomes the part that makes them a movie star, or maybe not. You know they came from somewhere though. Maybe it was an indie film, a festival darling, or both.
Thunder Road is for Jim Cummings the former of those two films. An indie…
Movies that don’t evoke a strong reaction are the hardest for me to write about, but they are not the ones I like to write about least. The ones I like to write about the least are the ones I don’t like at all. It sucks to watch something that many people have put a ton of work into and to come away knowing that you’re going to have to tell people you can’t recommend seeing that work.
Unfortunately, that is what I am having to do right now. Sorry For Your Loss is not a good movie.
Ok, let's just sum this up:
* changes the history of the band for dramatic stakes (they never broke up, Freddie was neither the only nor the first to do a solo project).
* you can basically feel May and Taylor hovering over the editing bay saying "you know, you should really cut to out reactions for that moment" basically any time anything happens in the movie.
* it pretty much literally hits all the same plot points as Walk…
A man pulls into a service station because he’s having engine trouble. He parks the car, walks into the shop, and asks the man behind the counter if the car can be looked at because he thinks the engine is overheating. As he’s saying this, the engine explodes in the background. We’ve all had bad days, but this guy is having a really bad day, week, and present in general.
This is Jon, a man who is presently a wreck,…
Movies that don’t evoke a strong reaction are the most difficult for me to write about. It’s hard to not oversell the good stuff and the bad stuff and create an impression that something is better, or much worse than it actually is. Bernadette is a movie like this. It’s well produced, shot, and acted, and also is feels slightly confused about it wants to be.
As it turns out, stop motion is Wes Anderson's one true medium. The level of twee detail is the highest it's ever been, and that is not a complaint (I especially love the one wide shot of the newscaster behind his desk, wearing a suit and tie but also fuzzy pink slippers).
Also, still in love with his cast of repertory players.