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‘RAYA AND THE LAST DRAGON’ Is Disney Dominance on Autopilot 

For the better part of a century, Disney has been carefully formulating a template for blockbusting success. Churning out mega-hit after mega-hit on a semi-annual basis is no happy accident and the family-friendly behemoth has gotten that formula down pat – they’ve even exported it to the god-knows-how-many subdivisions of their corporate content creation stations. But going into any Disney animated movie specifically, you have a basic idea of what to expect: there will be a brave, slightly defiant female protagonist who doesn’t quite fit in with her community; an unbearably cute little animal sidekick who manages to be snarky even if they can’t talk; a quest to restore a kingdom; and a dead parent or two. You can never forget about the dead parent bit.  Read More

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Sprawling Opioid Drama ‘CHERRY’ a Sometimes Entertaining Jumbled Mess

Once you pop you just can’t stop. Or so goes the philosophy of the Joe and Anthony Russo when it comes to telling the story of a college-drop-out turned bank-robbing, dope-addicted war vet in Cherry. The directorial pair who rose to the highest of box office heights helming a handful of Marvel’s most critical and commercial smashes (including the last two Avengers mega-hits) prove uneasy with actual drama. Their telling of Nico Walker’s semi-autobiographical best-seller of the same name – adapted in part by screenwriters Angela Russo-Otstot and Jessica Goldberg, is meandering and unjustifiable long-winded.  Read More

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God Save the Elderly Because Rosamund Pike is Here to Swallow Them Whole in Wicked ‘I CARE A LOT’ 

J Blakeson’s I Care a Lot wears a lot of hats. What starts as a genuinely electrifying satire centered around a morally repugnant legal guardian who grifts the elderly out of their assets and autonomy slinks into all kinds of genre territory; becoming at various points a pulpy thriller, a tongue-in-cheek dark comedy, and a pointed takedown of our national tendency to slide the old and aging out of public view. It is at times trying to do too many things, and is noticeably better in certain arenas than others, but when Blakeson’s lampoon of carnivorous capitalism sinks its teeth in deep and his performers rein fire and brimstone down upon each other, I Care a Lot‘s fiendish joys are simply irresistible.   Read More

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The SXSW 2021 Movies Already on Our Radar

SXSW has a history of bombast. What was once a modest Austin festival that celebrated the local scene, music, and emerging artists grew into one of the largest and most-attended festivals the world over. As crowd sizes grew so too did the prestige and scale of debuts with massive blockbuster movies like Furious 7 or Ready Player One playing to salivating fans willing to wait hours to see the world premiere. Read More

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Tender ‘MINARI’ Tells a Specific Story of Family Struggle With Universal Appeal

The pull of the American Dream lies at the heart of Lee Isaac Chung’s Minari, a story about a Korean immigrant family seeking out their chunk of economic ascension on Arkansas farmland. Steven Yeun (The Walking Dead) is Jacob Yi, an uncompromising patriarch dedicated to leaving his illustrious career of chicken sexing behind (more on this later) to grow crops from back home for the ever-increasing Korean-American population.  Read More

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Sundance 2021: ‘SUMMER OF SOUL (…Or, When the Revolution Could Not be Televised)’ Finally Televises the Revolution…And It Rules

Summer of Soul (…Or, When the Revolution Could Not be Televised), Ahmir Khalib Thompson’s (aka Questlove) infectious collection of never-before-seen-footage of the 1969 Harlem Cultural Festival (defamed for generations as “Black Woodstock”) is both a musical spectacular blowout and a powerful deconstruction of the  Black experience of the era. In a lyrical collage of glorious music and sociological study set at the end of the Civil Rights Movement, Summer of Soul looks through the lens of performance, activism, and musical genealogy to speak to our country’s history, black identity, and the all-transformative power of soul. The musical segments alone make Questlove’s Sundance-winning documentary an absolute must-see. The sociopolitical commentary that runs throughout however makes it essential.  Read More

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Sundance 2021: Stunning Performances Make ‘MASS’ A Sorrowful Reflection On The Aftermath of Violence

Two sets of parents, Jay (Jacob Isaacs) and Gail (Martha Plimpton), and Linda (Ann Dowd) and Richard (Reed Birney), meet six years after a tragedy that forever changed their lives. A swirling character-focused chamber piece about responsibility, guilt, grief, parenting, and forgiveness, Mass is an incredibly difficult weepy that honestly confronts challenging material. To go into the specifics of those details is to deny the reader of the hard-fought suspense that the filmmaker works to achieve so do try to go into this as blind as you can.  Read More

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Sundance 2021: Oral Histories and Prison Hierarchies Make Up ‘NIGHT OF THE KINGS’ 

As a piece of metafictional drama, Philippe Lacôte’s Night of the Kings delivers a wholly unique spin on the power of storytelling, weaving a story within a story that’s characterized by Shakespearean turns and prison-palace intrigue. Deep in the first of Côte d’Ivoire’s Abidjan lies “La Maca” prison. There, the inmates run the asylum.  Read More

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Sundance 2021: Porn Industry Is More Business, Less ‘PLEASURE’ In Phenomenal Star Is Born Cum-Up

The porn industry is first and foremost just that: an industry. Pleasure, the stunning expansion of Swedish writer-director Ninja Thyberg’s 2013 short of the same name, takes an unfiltered and decidedly hardcore look at how the porn industry operates through the lens of newcomer “Bella Cherry” (an incredible Sofia Kappel). A Swedish transplant that just arrived in LA with her mind set on being the next big thing in porn, Bella declares at passport control that she’s in the States for pleasure but soon discovers that she’s there for business. And business can be a sticky situation.  Read More

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Sundance 2021: Clifton Collins Jr.’s Work As a ‘JOCKEY’ is Backbreaking but Soul-Affirming

Every rider has a laundry list of injuries: cracked ribs, broken collar bones, shattered hips, busted noses. Riding on a professional circuit comes with no shortage of physical, social, and spiritual wear and tear and Jackson (Clifton Collins Jr.) is already well into his sunset years in Clint Bentley’s spirited but gentle horse drama Jockey.  Read More