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‘DUMB MONEY’ A Meme Movie With Moderate Returns

The premise of Dumb Money is simple: slap an ensemble of human faces on the viral Game Stop stock story and run the highlight reel. The star-studded meme movie from director Craig Gillespie (I, Tonya, Cruella) effectively transports us to a not-so-distant past: January 2021. The pandemic was still in full swing, masks were mandated, the term “essential worker” applied to nurses and DoorDash drivers alike, and people were looking for something to root for. Enter Keith Gill (Paul Dano), aka Roaring Kitty aka DeepFuckingValue (DFV), a low-level financial analyst and hobbyist YouTuber who dumps his $53,000 life savings into GameStop positions and decides to tell the internet why. In turn, Gill starts a movement of retail traders who follow suit, looking to enrich themselves but also – and equally importantly – take down the proverbial man. Read More

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Take a Delightful Sojourn Into Thespian Hilarity at ‘THEATER CAMP’ 

In the vein of the best Christopher Guest mockumentaries, Theater Camp delivers a laugh-a-minute exploration of the inner workings of a fictitious child actor’s summer getaway, firmly rooted in reality. Destined to become a cult comedy classic, especially amongst the performance-inclined, this feature-length adaptation of the short film of the same name is crafted with a deep understanding of the theatrical world. Co-directed by Molly Gordon and Nick Lieberman, both with theatrical backgrounds, the film expertly celebrates and satirizes the peculiarities of the theater world, infusing the humor with a delightful mix of specificity and personal touches. Read More

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Nolan’s Three-Hour Biopic Opus ‘Oppenheimer’ is Not Da Bomb

Christopher Nolan, the revered father figure of Film Twitter Bros the world over, has made his Mank (or his JFK, depending on who you ask.) Much like David Fincher’s polarizing and 10-time Oscar-nominated biopic, Oppenheimer offers a sprawling and contemplative portrayal of technology that reshaped the world, all while navigating the invasive presence of McCarthyism in America. It presents a sprawling, intricately layered narrative reminiscent of a Russian Nesting Doll, with stories within stories and a dynamic interplay of multiple timelines, including both colorized and black-and-white sequences, complemented by an ensemble cast of A-list actors. Those who caught early screening have already flocked to Twitter to lob terms like “masterpiece” and “best of the century” at Nolan’s three-hour biopic about the Father of the Atom Bomb but, much like Mank, Oppenheimer sees a celebrated filmmaker delivers a work seemingly tailored for awards recognition, though very clearly near and dear to him, yet ultimately fails to ignite the explosive impact it promises. Read More

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Pastel-Plastered ‘BARBIE’ A Hilarious and Incisive Indictment of Modernity, Gender Roles

When Mattel recently announced that they would be launching their own extended cinematic universe (the Mattel Cinematic Universe, or MCU2), the internet groaned in exhausted unison. After all, what could be more unappealing in our era of modern moviemaking than yet another corporate attempt to coalesce blatant brand synergy and Hollywood’s necrotic trend of interconnectiveness, all to satisfy a company’s stakeholders and their own bottom line? From my very anecdotal research, this is simply not a thing that the movie-going public is clambering for.  No one is demanding a theatrical showcase where Hot Wheels, Sock ‘Em Robots, and Barbie team up in some kind of Avengers-style plot to take down the dastardly Hungry Hungry Hippos. And yet, Mattel is currently in some stage of development on a vast number of feature films based on just that with Hot Wheels, Magic 8 Ball, He-Man, Rock ‘Em Sock ‘Em Robots, Polly Pocket, View-Master, American Girl, and the card game Uno all in some form of gestational pre-production. Theirs is a gloomy future that presupposes that Hollywood hits come purely from brand recognition – a future that forecasts the further sidelining of anything truly original, championing nostalgia and brand dominance over the creation of the new.  Read More

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Only Tom Cruise Can Stop Dastardly A.I. in ‘MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE’

A lesser Mission Impossible movie is still better than 90% of the dreck that passes for big budget blockbusters these days. Unfortunately, though, Mission: Impossible – Dead Reckoning Part One is lesser Mission Impossible. A handful of the choices made by writer-director Christopher McQuarrie in his third effort behind the camera for this franchise just didn’t quite work for me. The array of villains are undercooked and ill-conceived, particularly the introduction of a sinister mystery man from Ethan’s past who falls mostly flat by virtue of his story feeling either one-dimensional or incomplete; the attempt to capitalize on AI (2023’s buzziest buzzword) as the ultimate baddie didn’t quite feel in step with the franchise; a decision to remove a particular character (in a weirdly blatant attempt to “make room” for another younger version) irked me; as did the bifurcation of this film into two halves, leaving this particular installment hanging as if Tom Cruise himself dangling from a precarious cliff face. A lot of complaints, I know, but there’s also plenty to love here. Read More

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‘INDIANA JONES AND THE DIAL OF DESTINY’ A Lackluster Farewell to an Iconic Franchise

 Old dogs can’t learn new tricks in Indiana Jones and the Dial of Destiny. With the history books finally set to close on the beloved Indiana Jones series, and a sturdy director in James Mangold behind the camera, expectations were high for this final installment, which was tasked with righting the perceived wrongs of the previous entry, The Kingdom of the Crystal Skull, and sending our beloved grave robber out on a high note. With the original trilogy holding a special place in the hearts of many, including myself, as some of the greatest adventure films ever made, the anticipation was palpable. However, as the film made its debut at this year’s Cannes Film Festival to overwhelmingly lukewarm reviews, enthusiasm skidded to a halt: this wasn’t the final crack of the whip many had hoped it would be. Nevertheless, with a mix of hope and trepidation, I journeyed into the theater, hoping for a thrilling and satisfying conclusion to the legendary archaeologist’s expedition. Read More

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Pixar’s ‘ELEMENTAL’ a Derivative Love Story That’s Stuck in the Kiddie Pool 

Until its acquisition by Disney in May of 2006, Pixar’s primary mandate was originality. The lifeblood of the Emeryville-based animation studio, every new picture was a tapestry of bold ideas, original characters, rich emotional complexity, and boundary-pushing digital animation.  After being swallowed up by the House of Mouse, the studio’s focus shifted towards franchising, leading to a rise in Pixar sequels and a watering down of their “original” features. The conflagration of originality that once defined there every feature seemed to gradually wane into but a dim glow.

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‘THE FLASH’ Speeds Past Expectations, Strikes Lightning in the DCEU

In a time- and universe-bending world where superheroes have become a constant fixture on our screens, their welcome wearing thinner by the appearance, The Flash emerges as a super enjoyable surprise. A “solo” venture that sees the DC Extended Universe taking their crack at the whole multiverse thing that has been so popularized in superhero films of the past “phase”, The Flash actually focuses on dynamic storytelling and character complexity to impressive results. Despite a runtime that confidently skates past the two and a half hour mark, director Andy Muschietti (Mama, It) and screenwriter Christina Hodson (Bumblebee, Birds of Prey) have crafted a tale that zips by in an exhilarating flash of character, nostalgia, and good old-fashion storytelling. Read More

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‘TRANSFORMERS: RISE OF THE BEAST’ is Just Another Tired Entry in a Robotic Saga

1994 – a year when hip hop was flourishing, the Internet was a nascent wonder, and the Autobots were still saving the Earth – or something to that effect. Transformers: Rise of the Beasts, the seventh installment in the live-action Transformers series, leaps back to this era for yet another round of robot-on-robot rumblings. However, unlike the cool nostalgia of the 90s, the film is a profoundly uninteresting amalgamation of brain-deadening franchise IP and connective brand synergy. Read More

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‘SPIDER-MAN: ACROSS THE SPIDER-VERSE’ Weaves Vibrant Web of Creativity 

Five years after swinging the doors off the whole superhero multiverse thing, the highly anticipated Spider-Man: Across the Spider-Verse springs into action to deliver an arachnid-sized punch of fresh, inventive, and emotionally compelling spider-story that’s a true eye-popping wonder. Directed with electrifying visual panache by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson, our reunion with Miles Morales, Gwen Stacey, and a host of countless other spider-variants across an ever-expanding multiverse elevates the stakes in this second installment, ambitiously pushing the creative and narrative boundaries along the way. Read More