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Split Review

20 Jan

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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.

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Silence Review

11 Jan

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Ocean waves break on the shore. It’s a regular occurrence, a state of tranquility, nature’s way of passing time. However, any period of time can feel like an eternity. Hunched in the bushes, two priests watch as that act of nature slowly becomes an unthinkable act of torture, a commonality becoming an atrocity as their foundation of faith is questioned. And at its core, this is the purpose of Silence. It questions. It challenges. It wades into the contradictions and the dualities and turns inward on itself. It is a director’s musings, a self reflection on one’s life and career. It is an extension of and an overt expression of the moral quandaries of the director’s previous epics. Crime, transgression, repentance.

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Hidden Figures Review

6 Jan

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This 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.

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Toni Erdmann Review

22 Dec

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At 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.

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La La Land Review

2 Dec

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Expectations 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.

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Manchester By The Sea Review

22 Nov

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The one constant during times of grief is that no two people react in exactly the same way. One might break down in tears. Another might suppress emotion. One might hug and kiss the dead body of his or her loved one. Another might turn away immediately at the door. Manchester By The Sea understands the small differences that make us human and the messy, uncertain, and difficult swirl of emotions that follow the losses in our lives. It delves into the way that life goes on even if it seems like time stops, and it underscores the fact that putting one foot in front of the other can be one of the most difficult things to do every day.

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Jackie Review

17 Nov

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There 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.

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Paterson Review

14 Nov

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Paterson is set up like a poem of its own, its day-to-day structure providing a rhythm for a story without much of a well-defined plot or character arc. The film instead lives in the mundanity of everyday life, finding its story in the little moments and deviations from the normal rhythm. It’s not critical of mundanity like many films are; instead, it accepts that it’s a way of life for many, further highlighting the beauty and creativity that can be found in everyday moments. It’s a melancholy film driven by quiet hope.

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Miss Sloane Review

12 Nov

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Miss Sloane begins with a burst of energy, throwing you straight into the high-stakes political maneuvering that dominates the story. Jessica Chastain plays the fierce and driven Madeline Sloane, a character who takes no shit from anyone and fights tooth and nail for what she believes in. It’s a talky but fiery start, and it’s evident early on that Chastain is going to carry this story all the way through.

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The Edge of Seventeen Review

11 Nov

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Out 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.

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