I like it when films commit to a particular style or premise rather than trying to be an amalgamation of half-baked ideas. Films like Green Room or Don’t Breathe worked (for the most part) because they dispensed with extensive exposition in favor of letting the scenarios drive the stories. I’m not necessarily saying I always want minimal character development and thematic depth–nor am I implying that certain filmmakers can’t juggle multiple elements extremely well–but if your focuses as a filmmaker aren’t those things, then that’s 100% fine with me. However, if I get the sense that a film is trying to explore them, then part of my evaluation will include the level to which it succeeds. So, while Split deserves credit for going below the surface to unpack the effects of trauma on individuals, it also deserves some criticism for its reliance on thinly drawn characters, flashbacks, and parallels in order to make its point. Shyamalan might’ve been better served going all out on the horror element or the thriller element or the character element. Pick one.
Split Review
20 JanHidden Figures Review
6 JanThis is Conventional Oscar Storytelling 101, a nicely packaged inspirational story that doesn’t take many risks because it has no intention of doing so. There’s your usual irritatingly on-the-nose dialogue, your usual character stereotypes, your usual hokey scenes complete with a gradually swelling score as the walls of prejudice crumble. It’s all very nice and well made, but it has the makings of an extremely bland movie. Thankfully, Hidden Figures manages to still take that formula and turn it into something worth watching.
Toni Erdmann Review
22 DecAt its best, Toni Erdmann is a touching exploration of a father-daughter relationship punctuated by ridiculous comedic set pieces. Though the comedy relies on certain outlandish images as building blocks, it still feels authentic and true to the characters’ situations. A lot of the credit for that goes to the two leads–Sandra Huller and Peter Simonischek–both of whom understand the comedy in their characters and the undercurrent of sadness driving that comedy. I’ll be adding Huller to the list of people who deserve Best Actress over Natalie Portman.
La La Land Review
2 DecExpectations are a tricky thing. Unfortunately, this is one of those films that doesn’t live up to the hype for me, and it’s evident right from the underwhelming–but beautifully choreographed–opening scene. The film is stuck in a limbo between an intimate small scale romance and an extravagant large scale musical, and Chazelle’s desire to dip his toes into both results in an underwritten romance and through line. Committing to one or the other might give me a reason to care about more than just the aesthetics, but the film as it is believes it can be a masterpiece if it puts beautiful scenes next to each other sans connecting tissue.
Jackie Review
17 NovThere are a lot of things to like about this film. Portman is great, and her performance toes the line nicely between the artificial and the genuine. Mica Levi takes her haunting Under the Skin score and applies something similar here. Larrain and d.p. Stephane Fontaine succeed in creating a disorienting but intimate visual atmosphere. Essentially, this is a film that fights against being your run-of-the-mill biopic, and that’s an approach I can appreciate.
The Edge of Seventeen Review
11 NovOut of nowhere comes this movie to save 2016. This is a true charmer, an exploration of well-trodden film territory that still manages to feel more genuine than most. It’s funny, endearing, and touching without overdoing anything, and any sappier moments it features are most definitely earned. It’s one of the big surprises of the year in film, and I hope it gets the attention it deserves over the next few months.










