In Review!: “Blade Runner 2049”

Much has changed in the futuristic world of replicants and blade runners, but as ever in the real world, destructive forces remain the same. Blade Runner 2049 takes up decades after Ridley Scott’s influential vision and gives us something glossier and just as morally intricate. Ryan Gosling’s Officer K discovers a mystery than ultimately puts him on the search for Harrison Ford’s Deckard, with the potential for earth-shattering consequences. This time, in the hands of director Denis Villeneuve, the epic elements are also a bit glacial.

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In Review!: “Menashe”

A bustling New York City street hums at the start of Menashe, a sea of different lives moving independently, ready to become our story by catching the camera’s eye. It’s the titular grocery cashier, casually dressed by the standard of his Hasidic Jewish community, that sparks director Joshua Z. Weinstein’s eye.

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His coatless, hatless frame is the first suggestion of his role as outsider to tradition, as is his timid and stifled sweet disposition. He’s a grieving widower, with his preteen son in the care of his brother-in-law until Menashe can remarry and provide the nuclear unit demanded by the doctrine. But in his humble pleading to care for his son without interference and attempts to memorialize his wife in ritual is the faintest quake of rebellion against stricture.

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In Review!: “Beach Rats”

Eliza Hittman’s Beach Rats is a study on the mind and body of a closeted Brooklyn teenager Frankie, with an enigmatic breakthrough performance from lead Harris Dickinson. Frankie cruises for sex with older men on webcam chat rooms, gets high with his shirtless friends, and starts a relationship with a sexually charged young woman. All of these serve as some kind of escape from Frankie’s separate selves.

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In Review!: “Good Time”

Josh and Benny Safdie have delivered another severe opus of desperation with Good Time, a crime film that fetishizes the gutter to much less humane effect than their last feature Heaven Knows What. Robert Pattinson stars as troublesome Constantine “Connie” Nikas, whose sway over his mentally handicapped brother Nick (also played by Benny Safdie) strays closer to control than doting protection. When a bank robbery that Connie forces Nick to participate in goes south, the film shuttles into Nick’s urgent haphazard overnight quest to gather the cash to bail Nick out of jail.

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In Review: “Brigsby Bear”

In Brigsby Bear, Kyle Mooney plays grown man-child James, coping with being reunited with his birth family after a lifetime spent in a idyllic bunker with his captor-parents. Having believed that the outside world was inhabitable, his life was spent with the singular obsession with a children’s educational program starring the cuddly (and creepy) creature of the film’s title. Discovering that the program was just one of the lies created by his benevolent captors (played by Mark Hamill and Jane Adams) is just the beginning for James’s adjustment into the real world. It’s not as icky or depressing as it sounds, but it sure is as affected.

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Keep Up With My Work at The Film Experience!

Greetings, readers! Things have been mostly light here at filmmixtape, as I’ve been a steady contributor to The Film Experience and focusing on generating freelance work. I will continue to post regular reviews, but be sure to read my news pieces and reviews over at TFE as well! September will possibly be a light month on this site as I will be attending the Toronto International Film Festival and helping cover it for TFE.

ICYMI I started a regular series at TFE called Soundtracking, writing about soundtracks and music in the movies. It’s quickly become the work I’ve been most proud of and enjoyed writing, so I hope everyone enjoys! I’ve come up on ten installments, so I wanted to share them here in case there are readers who haven’t caught up:

In Review: “Atomic Blonde”

Atomic Blonde is an amalgam of tired and unsavory tropes – cult graphic novel adaptation, Cold War spy thriller, breathlessly brutal real-time actioner – that after one to many beige retreads, any one facet of its personality should tell us exactly what we’re in for. But this aint beige, it’s neon – and all those cliches are tossed out for something quite inspired. Surprise: with slithering freshness, the film is both the most chic and thrilling film of the summer.

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In Review: “A Ghost Story”

David Lowery’s A Ghost Story was filmed in secrecy last summer, both in a response to and with the financial aid from Lowery’s experience creating the big-budgeted Disney remake of Pete’s Dragon. That off-the-grid air is present in the film, feeling like a found artifact or talisman from beyond. But what makes the film really register is the deep well of feeling that made Lowery’s Disney effort more than a retread into familiar emotional territory. Here, Lowery delivers something more than the cosmic and intellectually minded. What surprises in A Ghost Story is that it comes from the heart.

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In Review: Maudie

Like Mike Leigh’s Happy-Go-Lucky several years before it, Aisling Walsh’s Maudie proves to be an remarkable showcase for the subtle gifts of actress Sally Hawkins. In the lead role, Hawkins stars as famous Nova Scotian folk artist Maud Lewis who grew in notoriety while maintaining a humble lifestyle in the tiny home she shared with her husband. Plagued by rheumatoid arthritis, her paintings were modest in size though loaded with imagination. The film is true to both that humility and charming spirit, especially thanks to the absorbing performance by Hawkins and Ethan Hawke as her grumbling husband Everett.

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In Review: “Dunkirk”

On a grand scale, Christopher Nolan has tinkered with time and its experiential malleability to mine morality, regret, self-deception, and hope at the core of the everyman. With his latest, the World War II nightmare Dunkirk, he crafts a film where trauma is time’s displacing agent. While the director usually favors working your brain, Dunkirk is felt in the body.

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To tell the tale of the week-long evacuation of 300,000 troops from the french shores, Nolan interweaves the battle on land, sea, and sky into one streamlined thread of formative daring. This provides an authentic experience of each individual branch of battle’s unique struggle while providing a unique way to present to the audience their disconnected efforts as one united front. The audience tries to keep on their toes much like the soldiers, but they’re never left in the dark. For as many films that purport to be all action sequence these days, Dunkirk is essentially that but with more than your amazement on its mind.

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