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‘TRON: ARES’ Is a Pretty Husk Wishing It Were a Real Boy

A big, empty spectacle of a movie, TRON: Ares is what happens when a franchise decides that a cyberpunk aesthetic alone is enough to carry a series. As a purely audio-visual experience, it’s a serviceably neon-soaked theater seat rocker, but the blasé script never locks onto anything narratively compelling or really has any justification for this story coming back to life after a 15-year hiatus. It relies entirely on expensive-looking action set pieces and a ripping Nine Inch Nails score to distract from the gaping void at its center, and might be able to pull off just that magic trick if not for the almost total lack of emotional calibration. Despite a solid cast that includes Greta Lee, Jared Leto, Evan Peters, and, randomly, Hasan Minhaj, the film struggles to make its characters feel like anything other than algorithmic husks. The story’s lack of emotional stakes only amplifies how fundamentally unfeeling this movie manages to be. Read More

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Kathryn Bigelow’s ‘A HOUSE OF DYNAMITE’ Certainly Provokes A Response

A House of Dynamite from Kathryn Bigelow, the Academy Award-winning creator of such American political thrillers as The Hurt Locker, Zero Dark Thirty, and the more uneven Detroit, is a taut, ensemble-driven thriller that wants to hold a mirror up to the global powder keg we’re all currently living in. It’s smartly cast, technically precise, and structured around a compelling premise: what happens in the wake of a rogue nuclear missile headed for U.S. soil? And yet, despite its ambition to provoke, A House of Dynamite fumbles the landing. Or more accurately, it refuses to make landfall at all, leaving audiences with more questions than answers. That may be the point – being intentionally provocative here seems the modus operandi – but it results in less than satisfactory storytelling. Read More

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SIFF ‘23: Romantic Korean Drama ‘PAST LIVES’ Aches With the Power of Many Lifetimes

Some of the most romantic movies to ever exist (Before Sunset) don’t feature even a kiss. Enter Past Lives, Celine Song’s achingly romantic two-hander about a pair of entangled Korean childhood friends who must navigate their deep connection across 7,000 miles (she’s in New York, he’s in Korea) and 24 years as they drift into and out of each other’s lives. Song makes it all feel so natural and real, allowing an outsider’s glimpse into this simmering relationship to blossom into something closer to deep knowing and genuine intimacy, eliciting a complex spectrum of emotion that’s both universal and deeply specific. Her debut feature, which boasts spellbinding cinematography and a yearning musical score, is just so alive; as ponderous and philosophical as it is well-acted and deeply-felt. One of the best of the year thus far. (A-)

Capsule Review for Seattle International Film Festival 2023.