Tech billionaire Slater King (Channing Tatum) is in the midst of a rebrand. A year after an undisclosed incident sparked a public apology tour, he’s turned over a new leaf, diving into philanthropic efforts while secluding himself on a mysterious remote island. His claims of reform are complicated by rumors of debauchery—all-night parties, sketchy associates, an on-hand pharmacy of designer drugs. This does little to deter the eager Frida (Naomi Ackie), a jejune cocktail waitress working the gala his company KingTech is hosting. Frida may still be figuring things out, but one thing is certain—brushing shoulders with Slater, if only for the night, would be a memory worth making. Read More
Noirish ‘THE BATMAN’ Reveals Man Swallowed By Mask
We’ve seen the man become the bat plenty of times. In Matt Reeves’ The Batman, we see the bat become a man again. The Batman, a singularly gloomy noir caper that feels stylistically more akin to Se7en than The Dark Knight, presents one of the most distinctive versions of the iconic “superhero” (that term is used very loosely here) to ever grace the screen. Reeves’ vision is a far cry from the rinse-repeat superhero fare that so frequently pummels their way through the multiplexes. There’s sparse humor or frivolity and even less charm. As much as Batman can be grounded, stripped down to his essence as a character, and seen for the disturbed outsider that he truly is, this is what Reeves seeks to accomplish. And he largely does just that. Read More