The films of Edgar Wright are stooped in references, unafraid to invoke his influences with reverie, winking at those in the audience who share in that unbridled affection. His latest, Last Night in Soho, achieves this with the most abandon, blending together such inspirations as giallo, Basil Dearden, and even Fosse for a spell. It’s an unexpected mix, all set to a quintessentially joyous and try-hard Wright-assembled soundtrack. But the gorgeous horror movie spell collapses quickly as Wright wanders into unfamiliar thematic territory. Last Night in Soho’s stumbles reveal that Edgar Wright is perhaps an enthusiast first, and storyteller second. Or maybe third.Continue reading “In Review: Last Night in Soho”
The laughs die quickly in Jojo Rabbit, writer-director Taika Waititi’s newest whimsical farce. Set in the dying days of Nazi Germany, a preteen would-be soldier named Jojo (played by Roman Griffin Davis) in the youth army struggles to fit in with his Reich peers. No matter, because he has the faith of his imaginary friend, a cartoonish version of Adolf Hitler played by none other than Waititi himself. Its silly and convincing opening act soon falls into one-note flatness as things turn to sentimentalism, giving us Waititi’s weakest film and one that frustrates in its fleeting successes.
Director Debra Granik returns to narrative features with something fairly akin to her Oscar-nominated thriller Winter’s Bone with the moving family drama Leave No Trace. As she had previously, Granik examines family dynamics and the hardships of caregiving for people on the outside fringes of American society. The system doesn’t help her characters, but they still manage and maneuver around its confines. The most distinct similarity between the films is that they feature a stellar debut from a young actress, this time with Thomasin McKenzie in an understated and entirely absorbing performance.
But to just reduce this new film to overly simplistic comparisons is to misread the holistic heart of Granik’s newest effort. Leave No Trace has more emotional aims, and much more to observe about the limitations we (as individuals and as a larger society) to care for one another.