All in Film

100 WORD FILM REVIEWS / Cold War

Draped in gorgeous cinematography and masterful mise-en-scène, Cold War marches through the long, frigid years of post-war Europe, following the intertwined lives of two Polish musicians who fall in love and struggle to keep a hold of one another in the face of Eastern Bloc politics, jealousy, ennui, and insatiable desire. Galvanized by a stunning soundtrack, Cold Wars ends with a hammer blow sacrifice, proving love is a prison we make for ourselves, and though we may fight to break out, in the end we are our own wardens. What’s more, some sentences are for life, and beyond.

100 WORD FILM REVIEWS / Glass

Unbreakable was phenomenal; Split was clever (and that "twist"!), and now we have Glass, the third installment of a trilogy spanning 20 years. Yes, Sarah Paulson is tiresome, and yes, there seems to be a few things that don't quite stick, but forget what you've read: Glass is a worthwhile use of two of your precious hours. I was delighted to see Spencer Treat Clark reprise his role as Dunn's faithful and proud son, and Anya Taylor-Joy and Charlayne Woodard are always amazing. Don't wait for that Shyamalan twist: just enjoy the conclusion of a story of three people who are extraordinary.

100 WORD FILM REVIEWS / Bumblebee

The unseen villain in Bumblebee (which for the sake of our collective sanity we can call the only installment in the Transformers franchise) is Michael Bay who, in 1987, when the film takes place, was working his way up the Hollywood ladder. With Bay still fetching coffee for Spielberg, director Travis Knight and star Hailee Steinfeld are free to have as much fun as possible with this admittedly silly concept, a concept that works considerably better when you can tell what's happening on screen. After all, a little fun was all 80’s kids ever wanted out  of these movies.

100 WORD FILM REVIEWS / Aquaman

Aquaman drowns a bit under the weight of its own spectacle, and there were moments when I found myself needing sonar to find one character amidst a screen of CGI fish. But if you’ve always wanted to see Patrick Wilson riding a battle shark, hop in – the water’s fine. The Atlantis mythology is dense, and partly magical, partly silly. But it’s an agreeable silliness, to which Jason Momoa and Amber Heard bring a boatload of earnestness and charm, especially in their lower key scenes together. Plus there’s Nicole Kidman eating a pet goldfish right out of its tank.

Buried beneath one of the most shockingly bad Hollywood movies in years is one of Steve Carell’s best performances. Welcome to Marwen has a lot of good people behind it. Co-screenwriter Caroline Thompson has a track record which includes The Nightmare Before Christmas, Edward Scissorhands, and the 1993 version of Secret Garden. Robert Zemeckis, who co-wrote and directed the movie, is justifiably considered a legend. Yet somehow, despite the odds, Welcome to Marwen is one of the most depressingly bad movies in recent memory. It’s ineptitude on virtually every level is almost surreal. This thought is made all the worse by the realization that it’s one of the dullest movies in recent memory, as well.

If The Revenant qualifies for “nature porn,” then First Man is the logical extension of Blade Runner 2049: “Ryan Gosling Porn—in Space!” When the camera isn’t focused on Gosling’s helmeted face, it’s on CGI constructions that suck the life out of this zero-gravity biopic. This occasionally engaging special effects extravaganza is pretty to look at, but mostly absent of the soul-stirring emotion that fueled Apollo 13 and Hidden Figures. Whereas director Damien Chazelle showed promise with his debut Whiplash, his latest feature fits into a pattern of dressed up homages to Hollywood’s past and doesn’t even qualify as revisionist history.

The Wailing (2016, dir. Hong-jin Na) has a brutal, naked approach to horror: the blundering confusion & fright in supernatural circumstances lends a realism to each actor’s performance. Hwan-hee Kim spookily portrays Hyu-jin, a sick child whose ominous illness drives her father, a detective named Jong-goo [Do-won Kwak], to desperation. Kwak shakes, scrambles, cries, & fumes as Jong-goo, whose increasingly reckless bumbles felt relatable as I grasped at theories, not knowing who to trust. The Wailing has just enough gore, tingly suspense, & and an ending that left me guessing how slight the edge is between safety & grizzly death.

After giving us the genre-bending Cabin in the Woods, Drew Goddard takes a stab at the neo-noir with Bad Times at the El Royale. Although elaborate in its narrative setup, the film falters from time to time. While acting is mostly solid across the board—especially by Jeff Bridges and Cynthia Erivo—pacing drags considerably and emotional moments do not always click in this story about strangers who convenes upon a rundown hotel for different nefarious motives. Despite these detractors, the film is freshly original, full of tension and dark humor. It is an enjoyable reprieve from mainstream dribble that constitutes studiofare.

The Old Man & the Gun is a good ol’ yarn, the type your grandfather would tell. This laidback, romantic affair about an aging bank robber possesses a myth-like quality. While the narrative’s pacing may be slow for some people, the cast’s charms make up for it. Magic especially shines between veterans Redford and Spacek. By not taking the material too seriously, director David Lowery explores topics such as aging and love with a dose of fun. When a film keeps a smile on your face the whole running time, it’s bound to stay with you long after the credits roll.