In Review!: “Mom And Dad”

The kids actually are all right; their parents are another story. Mom And Dad has the nuclear unit going atomic, but it’s less radioactive than mildly hazardous.

In this new horror-comedy from Crank writer/director Brian Taylor, a suburban slew of parents devolve into an unexplained fit of rage against their children. The violent id underneath affection, the part of every parent that despises their offspring, is unleashed for maximum destruction with the full brunt of any similar kind of stifled emotions behind white picket fences. Unfortunately, the film explores these themes gracelessly and without without the specificity to elevate the humor.

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The Best Films of 2017

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2017 was another very special year at the movies for yours truly – especially with getting to attend TIFF for the first time, this was a “before and after” year if I ever had one. As the world finds new ways to be unbearable, filmmakers haven’t been a stronghold for reflecting that awfulness while reaffirming our human resolve. I can’t remember a year where a film’s compassion could be felt so acutely. As ever, the movies were both an escape and a mirror. The running themes in the year’s best films are the terrible times we live in writ large and a reactionary, hard-won empathy, as if the movies were speaking to one another – a salve for the burns, or kindred spirits in tearing things down to build them back up again. How can one say that it’s a downer for the movies when they count for more these days?

And yet the complaints persist that the year was a disappointment. If you argue that this was an underwhelming year for film, the counterpoint remains to simply see more movies. From the inescapability of Star Wars – The Last Jedi taking massive creative risks to delights under the radar like Princess Cyd, the rewards are everywhere whether you actively seek them out or you can’t seem to avoid them. Even Netflix has made some of the year’s best accessible to so many, even if it has blurred the lines of the TV vs. film divide.

Missing among my list below that were the most difficult to omit: the potency of Mudbound‘s character insight, the blasé gutsiness of Staying Vertical, the soul of A Fantastic Woman, the cozy/prickly ambition of Okja, and The Post‘s timely righteousness. Major players of the year that I have regrettably missed at this time include Phantom Thread, Loveless, The Breadwinner, and Félicité. Onto the top 15 films of the year…

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The Best of 2017 – Personal Ballot!

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BEST FILMS OF THE YEAR
Beatriz at Dinner
BPM (Beats Per Minute)
Call Me By Your Name
Faces Places
The Florida Project
The Killing of a Sacred Deer
*** Lady Bird
mother!
Personal Shopper
Raw

BEST DIRECTOR
Darren Aronofsky – mother!
Sean Baker – The Florida Project
Robin Campillo – BPM (Beats Per Minute)
*** Greta Gerwig – Lady Bird
Luca Guadagnino – Call Me By Your Name

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In Review!: “Downsizing”

When did Alexander Payne lose his ear for how people actually sound? Even in his archest satires like Election and Citizen Ruth, Payne’s cinematic voice had a realistic edge to make the most heightened emotion and biting commentary distinctly authentic. As his most recent features have given way to sentimentality that has made less and less room for that reality, now he actually steps toward science fiction – sort of. Downsizing is a high-concept attempt to return to satire, but with none of the attributes that made his best films so exacting.

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In Review!: “The Square”

The silly and serious The Square delights in the agony it creates for the audience. In extended, increasingly uncomfortable sequences surrounding the curator of a national museum, the film delivers cringey laughs over its lethargic length. Director Ruben Östlund has even more on his mind than his previous film, the acerbic family dark comedy Force Majeure, but just as much intention to make the audience uncomfortable for what he reflects back at them.

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