The “Southside” Part is Best
Watching Southside With You, I kept thinking, “Too soon!”
The film, which chronicles the courtship of a certain Barack Obama (Parker Sawyers) and Michelle Robinson (Tika Sumpter), has a lot going for it. I jived with the film’s energy, its celebration of black culture, its nod to Do the Right Thing that made me reexamine my own interpretation of that film’s ending. I enjoyed how it emulates Richard Linklater’s Before trilogy without parroting it outright, using the walk-and-talk narrative model to explore the idiosyncrasies of South Side Chicago. I liked the two lead actors, who deliver their lines with conviction even when the screenplay stumbles into sappiness or the musical cues feel miscalculated. Continue reading
X-Men: Apocalypse works because it seems to take itself simultaneously very seriously and not very seriously at all. Whereas some movie are all grit and no grins and others take self-awareness to cloying extremes (think Deadpool, although that film saved itself with moments of genuine heart and humor that leaven an otherwise overly self-congratulatory air), Apocalypse manages to send up the genre it inhabits without losing faith in the seriousness of its characters’ psychological and moral struggles. Continue reading
Clash of the Titans
In light of the heavy fire Batman v Superman: Dawn of Justice has been taking from critics, I will say upfront that the film is a narrative mess. The main plotline follows Batman’s increasing distrust of Superman, whose battle against General Zod in Man of Steel caused huge and lethal amounts of collateral damage. Superman returns the sentiment, believing that Batman’s brutal brand of justice is a menace to law-abiding society, which in turn observes these two heroes with simultaneous appreciation and wariness. Continue reading
Welcome to the Jungle
My first thought after finishing Zootopia was that I had just seen an adult-oriented film masquerading as a children’s movie, and I mean that as a compliment. For all its visual resemblances to the likes of Rio, Madagascar, and Ice Age—which, though not lacking in appeal for older viewers, primarily target younger crowds—this animated flick takes groovy detours into intelligent, screwball dialogue and film noir intrigue. In pursuit of the latter, the film peppers its screenplay with clever references to everything from The Godfather to Breaking Bad, except Zootopia is also genuinely engrossing in its own right, with moments of legitimate horror and heartbreak. Continue reading
A Gorgeous Muddle
Visually, The Assassin is one of the most beautiful films I’ve ever seen. Most movies have four, maybe five photogenic shots that, if extracted from the film, wouldn’t look out of place in an art gallery. A small handful of motion “pictures” live up to their name by accruing praise like “painterly” or “pictorial” for delivering a sizable quantity of images that you would frame and hang on your living room wall if you could. The Assassin is made entirely of these images. Virtually if not literally every shot has been arranged and photographed to perfection. Continue reading
Happily Ever After
This is the ninth post in my Blindspot review series. I will continue to publish one like it each month for the rest of 2015.
Amélie is a curious concoction. The world it depicts is bawdy and colorfully R-rated, and yet it has the feel of a children’s fairy tale. We get this impression thanks in large part to the titular heroine (Audrey Tautou), whose biggest flaw is her altruism: she so single-mindedly devotes herself to helping others that she forgets to help herself. This scenario recalls a very real-world problem – the compassionate busybody who burns out because she is constantly ignoring her own needs to meet the needs of others – but director Jean-Pierre Jeunet rephrases the issue in more fanciful terms. Instead of psychological health, the lack in Amélie’s life is in the shape of a prince charming, an elusive happily-ever-after. Continue reading
This is the eighth post in my Blindspot review series. I will continue to publish one like it each month for the rest of 2015.
In Uncle Boonmee Who Can Recall His Past Lives, the titular character is dying from kidney failure. The film is slow – slow cinema slow – but this slowness takes on profound weight in light of this plot line. With death forthcoming, we become unusually sensitive to time’s passing – the way the story crawls and at points seems to stand still, the way the shots last for minutes on end. The smallest movements are granted tremendous significance, as they seem to resist through physical action the stillness associated with death. Simultaneously, the melancholy sluggishness with which they are performed – as when a woman lazily zaps mosquitoes with an electric swatter, or an ox ambles casually through a field of grass – appear to convey a resignation to time’s inevitable trajectory. Continue reading