I love movies. I write longer reviews (and about past Oscar races a lot) at my blog: theworldofjot29.blogspot.com
Frequently fascinating, meta-commentary on our naval-gazing, "truth means nothing" culture. Novak's humor works well (there were a lot of great bits of side humor, my favorite being the "I went to school in New Haven/I went to school in Boston" throwaway line), and the cast is strong, particularly Ashton Kutcher as an absurdly handsome narcissistic intellectual in the middle of nowhere. The film takes some big swings in the back half, not all of which connect, and there is definitely…
A terrific concert film in-and-of-itself (Nina Simone, Mavis Staples, David Ruffin, Gladys Knight...I mean, come on!), but also a wonderful meditation on the transience of political movements & history itself. The footage, and how it hasn't been seen in this fashion in 50+ years is jaw-dropping.
Total misfire. Yes the leads are hot (if you were convinced to see it based on the poster…we had similar ideas), but this is less a complicated story of forbidden love and more a paint-by-numbers gay romance that feels about 15 years behind-the-times. Also, it is next to impossible to figure out what era it’s intended to be filmed in between the 1950’s jokes, 1970’s music, & 2020’s gym-toned bodies.
Peele, given a budget, makes sure we feel every inch of it with a gigantic ode to what can make movies cinematic. Borrowing as much from something like The Misfits as he is more obvious fare like Close Encounters or Tremors, Peele's real star isn't any of his talented leading actors (all, but particularly Yeun & Palmer, are doing some stupendous work), but instead Hoyte van Hoytema, making every scene a painting, and well-blending the lower-key special effects of the movie…