Finally. Finally a biopic that doesn’t treat its story beats like attention grabbing headlines. Finally a camera willing to linger in the right moments without reveling in or dismissing pain. Finally a “true story” film that recognizes that themes like strength, perseverance, and even patriotism can absolutely be expressed through personal, intimate human moments. I’m not saying Stronger is a pioneer in those areas, but I’ve been conditioned to expect a certain type of film with these biopics, i.e. a sanitized, rushed, and ultimately dismissive Greatest Hits reel that does a disservice to real life struggles. Thankfully, that’s not what we get here.
Kingsman: The Golden Circle Review
22 SepBloated and a bit draining, but still lots of fun due to Vaughn’s stylized, over the top gore fests. There’s nothing here quite as memorable as what we saw in the first film, but there’s a slapstick swagger to it all that can be infectious at times. A great villain can also go a long way in any film, and Julianne Moore’s Poppy certainly fits that bill. She plays her character like a drunk, slightly unhinged evil genius, and it’s very fun to watch even if the writing fails her at times. Other standout performances include that of Pedro Pascal, Elton John (in a ridiculously hammy role that would only work in something like this), and the always dependable Mark Strong. Unsurprisingly, all of the cast members deliver the charm even amid the screenplay’s myriad questionable choices. Continue reading
Marjorie Prime Review
1 SepAn intriguing conceptual anchor dealing with the pliability and selectivity of memory, unfortunately reduced to listless conversations and underdeveloped characters. There’s an admirable attempt to build off of those themes via the unspooling of backstory against the backdrop of familial and generational dynamics, but there’s a clumsiness in the way it’s handled. Perhaps the translation from stage to film left some blanks that needed to be quickly filled, resulting in a weak script backing up a unique vision. Nevertheless, I came for Hamm and I left satisfied, and the film is at its best when it focuses on him and Marjorie (an excellent Lois Smith). There are two conversations that are decidedly not listless: the opening and closing scenes of the film, which mark the most interesting engagements with the subject matter. All around a solid production–Robbins and Davis deliver, and Williams as d.p. and Levi as composer are great choices–but it doesn’t quite reach the heights it strives for.
GRADE: B-