For months now, people online and off have been speculating, hoping, disavowing their interest in Star Wars: The Force Awakens. So with so much non-film related stuff swirling around J.J. Abrams latest installment of the Star Wars serial, how is one to offer any insightful critique of The Force Awakens?
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As a spectacle, as pure entertainment, The Force Awakens delivers. Its pace is near break-neck, but it rarely feels rushed. The climax manages to feel bigger-than-life and starkly intimate at the same time. And people will be talking about the movie’s big plot points for months.
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Brooklyn is cinematic pea soup. It’s groggy, flavorless and utterly unremarkable. Not even Nick Hornby’s script or Saoirse Ronan’s performance can save it.
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A single woman takes the place of a stranger’s blind date, which leads to her finding the perfect boyfriend.
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Room is a powerful drama that signals the arrival of Brie Larson as a dramatic actress.
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Daniel Craig returns for possibly his final outing as James Bond. That’s a good thing.
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It has so many internal references and so much in terms of pre-knowledge groundwork that it works as a Peanuts film, but somehow it still utterly fails at feeling like one.
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Guillermo Del Toro tells a ghost story the only way he knows how.
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Aaron Sorkin returns to Silicon Valley this time with director Danny Boyle for Steve Jobs, a movie that is less a biopic and more a collection of three one-act plays that are less concerned with the man and more concerned with perpetuating the legend of the magnetic, charismatic, dreamer who founded Apple and revolutionized computing.
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The Martian’s smart script and sharp construction will make it a joy to watch again. It’s genuinely fun without dumbing itself down.
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The Visit may not be a ringing success, but it is also far from a complete failure. It may just be the first film from M. Night Shyamalan in a very long time that you should go and see in the theater.
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The films of Noah Baumbach have two constants, his love of New York and his obsession with moments of transition. His latest film Mistress America is no different, though more distilled and hilariously funny.
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Caught between a forbidden romance and the expectations of his friends, aspiring DJ Cole Carter attempts to find the path in life that leads to fame and fortune.
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Z for Zachariah is a post-apocalyptic story of survival.
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