Quentin Tarantino famously taught himself the vocabulary of cinema working at a video rental store in 1980’s LA. The glow from old westerns and kung-fu movies – his celluloid rosetta stone – unlocking the secret language of a medium of which he would soon seek mastery. Once Upon a Time…in Hollywood, the director’s tenth movie (which he questionably calls his ninth) is both an ode to Tarantino’s cinematic upbringing and an overtly didactic examination of a Hollywood he never experienced, one in the groans of transition, leaving behind the Golden-era glow for something more experimental and hipsterish, filtered through the lens of American political rebellion and the chintzy nature of fame. Read More
‘STUBER’ Hails Nanjiani and Bautista for Violently Funny Masculinity Workshop
In Stuber, a rogue detective (Dave Bautista) hot on the case of the heroine dealer who killed his partner has just undergone Lasik eye surgery. Functionally blind, Bautista’s Vic not-so-serendipitously gets an urgent break in the case but can barely walk two paces without running into a wall or down a flight of stairs. Wanting to avenge his fallen partner before the case is handed off to the feds, Vic finds salvation in ride share technology, hailing Uber driver Stu (Kumail Nanjiani) to unwittingly save the day as a kind of seeing-eye-Prius-driver. Read More
‘THE LION KING’ Doesn’t Have An Original Bone in its Stunningly Photorealistic Body
Not a lot of films have found success at the multiplexes this summer with franchise entries like Godzilla: King of the Monsters, Dark Phoenix and Men in Black: International crashing and burning at the global box office. What with their iron grip over Marvel (Avengers: Endgame, Spider-Man: Far From Home), Pixar (Toy Story 4) and a catalogue of classic animated films like Aladdin and Dumbo ripe for live action remakes at their disposal, Disney has kept their head above flood waters, saving the AMCs and Regals of the world from becoming desolate, sticky wastelands of stale popcorn kernels and cola syrup. Disney is a king of their domain. And that domain is business. And business is good. Read More
Thematic ‘Toy Story 4’ Puts Big Radical Ideas Over Big Radical Plot
At the height of Pixar’s creative boon, Toy Story 3 threatened the impossible: a sequel would be the animation studio’s best movie to date. This on the heels of the triple-threat punch of Ratatouille, WALL-E and Up, to this day the finest consecutive output Pixar would manage. Toy Story, to this point in the studio’s history, was Pixar’s only ongoing franchise – Cars 2 would come along and bust their Fresh streak just one year later – but its sequels managed to keep pace with their starkly original one-off creations by diving deeper into the pathos of its collection of anthropomorphic toys and achieving an even greater sense of world-building. Woody, Buzz and the gang discovered things about themselves by exploring larger sandboxes and, accompanying them, we too saw the world with eyes renewed. Read More
Punishingly Bland ‘MEN IN BLACK: INTERNATIONAL’ Left Me Wanting Neuralization
I know I’ll never get the two hours I just spent watching Men in Black: International back, ’tis part of the great contract us movie critics sign with the devil of Hollywood. But if only there was a way to zap myself with some kind of bright glwoy contraption, to erase that grueling 120-minutes sat in a popcorn-fueled daze, watching the swashbuckling Chris Hemsworth and charming Tessa Thompson flail in a dead fish revival that was never meant to be. If only some people in black suits could trot up and zap away those banal 7200 seconds, rewriting my history by telling me I just watched John Wick 3 again or just “something really cute” really. But alas, neutralizers don’t exist. And watch Men in Black: International I have. Read More
Essential ‘THE LAST BLACK MAN IN SAN FRANCISCO’ Glows With a Special Kind of Movie Magic
Every once in a while a new voice emerges that feels so innovative, so essential, so fully-fleshed out and whole, that you just want to sing its praises from the rooftop. The Last Black Man in San Francisco, Joe Talbot and Jimmie Fails’ stunning story of a friendship, a city, a home, has reduced me to a lame rom-com fuck boy. I want to scream it from the rooftops – I love this movie. Read More
Mo’ Monsters, Mo’ Problems in Moronic ‘GODZILLA: KING OF THE MONSTERS’
One of the chief complaints regarding the 2014 Gareth Evans-directed Godzilla reboot was the lack of screen time for the titular monster. The character for which the film was named famously only appeared on screen for about 8 minutes and some fans felt they got the short end of the stick when they plopped in their theater seats expecting all-out-monster mayhem. In the timeless tradition of cinematic call and response, Godzilla: King of the Monsters, as directed by Michael Dougherty of Trick ‘r Treat and Krampus fame, takes that complaint baton and sprints blindly the other direction, delivering a movie that is packed to the gills with fussy monsters and cityscape destruction porn but remains an exhausting and brain-numbing eyesore nonetheless. Read More
Sporadically Gruesome ‘BRIGHTBURN’ Could Burn More Brightly
Man of Steel meets We Need to Talk About Kevin in Brightburn, the James Gunn-produced “What if Superman bad?” movie that’s had folks buzzing since its mysterious announcement last year. Gunn, who cut his teeth in the Troma movie scene – a disruptive production company infamous for splatter and farce-fueled horror movies like Poultrygeist: Night of the Chicken Dead and The Toxic Avenger – before becoming a big shot with The Guardians of the Galaxy series, has his gore-tastic fingerprints scattered throughout Brightburn, though the superhero script-flipper’s signature touch is decisively missing, Brightburn lacking the mark of a seasoned filmmaker with keen editorial prowess, a knack for subjective horror, and Gunn’s dark, cruel wit. Read More
Disney’s Lifeless ’ALADDIN’ Remake is the Opposite of Art
As far as I’m concerned, Aladdin is the worst movie of the year. There is not one ounce of artistic value in this soiled remake ostensibly from director Guy Ritchie (The Man From U.N.C.L.E.), not one element that was not a clunky and borderline offensive down step from the original 1992 animated film, no attempt to refurbish the material and put any semblance of fresh spin on it. This is “filmmaking” as black magic – the result of someone burying the original Aladdin V/H/S in a Pet Sematary, its shambling resurrected corpse showing up on marquees pretending to be a real movie. Read More
‘BOOKSMART’ a Sincere (And Sincerely Funny) Ode to High School Ride or Dies
In August of 2007, Superbad hit theaters and the timing couldn’t have been more perfect. I had graduated from high school three months earlier and though I’d never sat in a ride along with infantile po-po, or forced to sing karaoke to a room full of coke heads, the theme of life’s defining crossroads and their inevitable effect on friendship struck a nerve. Underneath the playful sheen of a raunchy teen comedy, Superbad spoke to the challenges of an unknowable future and the tectonic shifts that crackle in the multitudinous friendships you’ve curated over the years. A few days after Superbad, I left for college. Read More