This film reminded me a lot of Time Out of Mind, and was equally heart-wrenching. The tears I cried during this film were generated by genuine empathy, rather than melodrama and some doleful string-led instrumental. That empathy was for four characters caught in a broken system (England's unemployment and worker's disability support program) whose emphasis on protocol and ticking boxes over decency, humanity, and common sense prevents upward mobility and places decent people in purgatory. The hardships and frustrations faced by the characters of Daniel and Katie seem all too real and believable. Each of the actors in these roles gives extremely convincing performances, and the little girl who plays Katie's daughter Daisy is also fantastic. While I, Daniel Blake is not an uplifting film by any means, it nonetheless offers a powerful social critique that deserves consideration and rumination.
This is a rare awards season movie that lives up to (and possibly exceeds) the hype surrounding it. Call Me By Your Name is an excellent and gorgeous film. Armie Hammer's and Timothée Chalamet's performances are exceptional; the chemistry between their characters is off the charts, and their relationship is the stuff that dreams are made of. The film captures summer in the 1980s perfectly, exuding a puckish, languid warmth – not to mention short shorts and fabulous sunglasses – that is irresistible. All of the characters are so likable and open-minded; they are people that you want to spend time with – which is especially true of Hammer's Oliver and Chalmet's Elio. To top it off, the soundtrack is excellent as well. Call Me By Your Name is destined to be a romance for the ages – and as such, it is a film I look forward to watching over and over again.
This is a heart-wrenching film, and all who are featured in it deserve major kudos for being so open with their feelings. I originally got into Eagles of Death Metal because Joshua Homme is one of my very favorite musicians as well as someone who (usually) seems like a genuinely awesome human being all around. This film increased my respect for Josh due to his deep, articulate commentary and observations and because he truly does appear to be a fantastic human being – or at least an excellent and caring friend to Jesse Hughes. Jesse, for his part, is incredibly vulnerable and honest in this film. The Bataclan attack touched people around the world in so many ways, but hearing first hand accounts from Jesse, the rest of the band, and audience members who were there transforms the attack from a tragedy that happened far away into a truly horrific event that reshaped the lives of all who were there in highly tangible ways. I have so much respect and admiration for all those who agreed to speak on camera for this film, and in the process lay themselves bare and revisit such horror.
I have long admired (and crushed on) Laird Hamilton, dating back to Riding Giants c. 2004 and the era when I was buying surf mags to decorate my room and fit with my Roxy/Quiksilver aesthetic. I was super excited to see Take Every Wave, and it did not disappoint. In fact, it was just as exhilarating as Riding Giants and solidified Laird as another of my flawed heroes (alongside the likes of Rod Stewart, Nikki Sixx, and Robert Evans). Laird has certainly had his share of personal and emotional issues over the years, but he embraces his mistakes and is unapologetic for achieving his goals and living his life on his own terms. He understands that his mistakes played a significant role in helping him achieve all his successes. Of course, the surfing footage is breathtaking and awe-inspiring, and Laird and his friends are all great storytellers who have some pretty amazing stories to tell thanks to years of outlandish adventures that pushed the envelope in every way possible.
This is an engaging film that convincingly transports the viewer to Mississippi in the 1940s. It presents provocative portraits of two families – one white and one black – as well as of one young man from each family trying to find their places in their rural community after serving in World War II. These young men are played by Garrett Hedlund (who should be in so many more movies than he is) and Jason Mitchell, and it is the performances of these actors that truly make Mudbound worth watching. Their emotional struggles and the way they relate to their families and each other form the heart of this film. Other than these two young men and Mary J. Blige as the matriarch of the black family, most of the characters are quite (or very) unlikable – and yet their story is still compelling. The film is reminiscent of a John Steinbeck novel in its ability to capture the working class of a certain era, except for the fact that Steinbeck never wrote something that conveys the emotional heft that underlies this film.
I didn't want this film to end because I wanted to spend more time with its characters, namely Casey (Haley Lu Richardson) and Jin (John Cho), though Parker Posey was also excellent, as she always is. The actors do a terrific job of fully embodying their characters and communicating just as much with body language and gestures as they do with words. Additionally, the film features and photographs mid-century modern architectural landmarks in stunning and subtle ways.The quiet moments in the film (of which there are many) showcase a balance between the magnitude of the structures and the subtle performances of the actors. There's a lovely meditative quality to many moments in the film, but there is no pretension in these quiet moments because Casey and Jin keep everything so grounded; there is a reason for every silence and every contemplative moment. Watching Columbus is like going to a museum with a good friend; it offers discovery, wonder, and companionship.
Ingrid Goes West is an extremely honest look at Millennial culture and the disingenuousness of social media, especially Instagram. I was expecting this film to be a Millennial satire, but instead I found it to be a moving and profound portrait of social media use and meaning in today's FOMO-driven society. The penultimate scene really packs a punch that I wasn't expecting at all, and its harrowing message has really stayed with me. Lurking under the beautiful scenery and people of LA and Joshua Tree is a soul-crushing void of vapidness and avocado toast. Ingrid Goes West captures the zeitgeist as no other film has.
This film is so warm and heartfelt, with fantastic performances from Kumail Nanjiani, Holly Hunter, and Ray Romano. Even though the story centers on an extraordinary circumstance, the film is highly relatable thanks to scenes that are alternately – or all at once – funny, tender, difficult, and sincere. Even though there is plenty of family drama to go around, the honest performances keep everything grounded. It helps that the story is one based in the reality of Nanjiani's life and that it has a happy ending, otherwise it would all seem a bit too far-fetched to be believable. Truth can indeed be stranger than fiction.
Sam Elliott is terrific in this film, with a powerful performance that is somehow stoic and emotional all at once. Laura Prepon is a great romantic foil for Elliott, and they actually have palpable chemistry, which makes their romance totally believable despite their age difference. Nick Offerman also gives a wonderful, gentle performance as Elliott's friend and drug dealer. Despite these strong supporting performances, Elliott's aging Western actor is undoubtedly the star of the show. His character's grief at his own life slipping away from him is touching, and the way in which the film shows his mind processing that devastation – with dreams and beautiful still moments and seascapes – is surprisingly effective without being overwrought or encroaching on Terrence Malick territory. The Hero is a beautiful and highly affecting film with a deep sadness at its core.
This film has stayed with me far longer than I expected it to. That staying power is largely due to the deeply felt performances of Brooklynn Prince and Bria Vinaite as a young girl and her young mother, and Willem Dafoe as the manager of the cut-rate motel they call home. Dafoe's performance is especially noteworthy for its subtleness and its mix of guffness and softness. The way his character protects those who have wound up under his reluctant watch is quite sweet and moving. The Florida Project shows the hardships of those struggling to get by and find their place in the world without being patronizing or self-righteous. While the subject matter reminded me of housing-bubble films like 99 Homes, the focus on children sets it apart by contrasting the innocence and optimism of childhood with the audiences knowledge that the young protagonist's life is far from perfect. In way Dafoe's character is the audience's surrogate, doing what he can to help while knowing that in the end he is helpless – nothing he can do will save Prince's and Vinaite's characters from the system and cycle in which they've always been stuck.
This documentary about the street cats of Istanbul is adorable and touching. All the cats are super cute and have very big personalities, and the people who care for these cats show how caring, kind, and good people can be. In a year filled with negativity and bad behavior, Kedi is a welcome and pleasing respite of goodness that reminds us to treasure the small and simple things in life.
While this film is far from perfect, it sure is a lot of fun. Hugh Jackman and Zac Efron need to be in all the movie-musicals, because their talent and charisma know no bounds. Despite not being a huge fan of La La Land or Dear Evan Hansen, I found the Pasek and Paul songs in Greatest Showman to be fun and uplifting. The choreography is also on point, and the set design is gorgeous. I left the cinema wanting to buy the soundtrack and watch Kate & Leopold, which I think speaks quite well for this film. I would also love to see a Broadway version of The Greatest Showman because it would bring some much needed authenticity to the highly fictionalized story and overly polished (and, in the case of Rebecca Ferguson, dubbed) performances on display in the film. To be clear, it's not the actors' fault that they come across as too polished, as that glossiness is clearly the result of (post) production choices. Despite its flaws, this film radiates optimism and joy and features some truly impressive musical numbers and addictive songs.
While many of Berns's songs and producing credits have become deeply embedded in pop culture, the man himself (who died in 1967 at the age of 38) has largely been forgotten while his peers like Phil Spector, Burt Bacharach, and Leiber & Stoller are widely celebrated. Bang! The Bert Berns Story is a must see film for anyone who loves 60s pop music. Berns wrote such mega-hits as "Twist and Shout", "Tell Him", "Baby Let Me Take You Home", "Here Comes the Night", "I Want Candy", "Piece of My Heart", and "Hang On Sloopy". He also produced songs and albums for artists such as The Isley Brothers, Solomon Burke, and Van Morrison. This documentary is a well crafted portrait of a man who deserves much more recognition than he's received. The film showcases a brilliant career that ended far too soon, along with the love and respect that Berns's family and associates clearly have for this passionate, creative man. I am still in awe that one person could write so many major hits in so short a time.
I was pleasantly surprised by the depth and breadth of the film and the high quality of the performances, especially from Josh Brolin, James Badge Dale, Taylor Kitsch, and Miles Teller in the lead roles. I had expected the film to focus on one wildfire, but instead it tells the story of an extraordinarily dedicated group of men willing to make huge sacrifices for their community. The story of the Granite Mountain Hotshots is extremely compelling, so I can see why a film was made about this elite firefighting unit. Prior to seeing this film, I didn't know much about what it takes to fight wild fires, but I now have even greater respect for those who feel this job is their calling. Only the Brave does a wonderful job showing why the men of the Granite Mountain Hotshots are true heroes who shouldn't be forgotten.
I had to see this movie because I have become quite a big Lucas Till fan; the man looks pretty much perfect, has charisma to spare, and can spout scientific jargon like nobody's business. Monster Trucks is a very cute, sweet, and fun movie that reminded me of stuff I used to watch when I was a kid. It's got the whole "kids helping a misunderstood animal/creature get home while foiling evil corporate grown-ups" thing going on for it, which is just as effective as a plot device now as it was in the 80s. Of course it doesn't hurt that in addition to Till and Jane Levy (as his highly capable and spunky leading lady), the cast also features Barry Pepper, Amy Ryan, Danny Glover, Thomas Lennon, and Rob Lowe. The monsters in question are so ugly that they're cute, and the truck thing actually works, with Till getting to do some MacGyvering long before he was actually MacGyver, and some pretty decent visual effects bringing everything to life. This movie isn't life-changing, but is is both adorable and enjoyable.
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