Sometime in the 1980s, Marlon Brando had his face digitized, presumably as a way of leaving just a bit more of himself after his departure from this planet. As we see it in Stevan Riley’s documentary Listen to Me Marlon, that speaking, moving hologram looks like a cross between George…
The world of film noir is peopled with melancholy men trying to do the right thing even when they don’t quite know what the right thing is. Always — always — they fall for the wrong girl. Joseph Cotten’s Holly Martins — the highly principled, if confused, heart of Carol…
In a world gone mad for superhero movies, what chance does the light spy caper have? Audiences will put total faith in a guy wearing a red metal suit, but the soft woolen folds of the bespoke kind barely register. When a whole city can be blasted to smithereens thanks…
In 2012, documentary filmmaker Joshua Oppenheimer made a splash with The Act of Killing, in which he sought out members of Indonesian killing squads, individuals who murdered thousands of innocent citizens accused of being communists after a military takeover in 1965, and invited them to reenact their crimes in the…
From the trailer, and just from its initial vibe, Joel Edgerton’s directorial debut The Gift looks like your stock “When bad things happen to good people” thriller, complete with a soulful pet dog you just know is going to get it. But dog lovers, and everyone else, should know that…
Some of the best love songs are those whose lyrics perch precariously between “I adore you, let’s be happy forever” and “I’m miserable without you, where have you gone?” Together, the melody and words of Kurt Weill and Ogden Nash’s 1943 ballad “Speak Low” take the shape of a vaporous…
It’s been 32 years since the release of National Lampoon’s Vacation, in which Chevy Chase, as dad Clark Griswold, packed his Griswold clan into what looked like a Country Squire from Hell and sought the family-bonding experienceTM by driving cross-country to a mythical mega — amusement park known as Walley…
There’s probably only one humanist film that opens with the words “Merry Christmas Eve, bitch!” accompanied by the proffering of a single, sprinkle-dusted doughnut. In Sean Baker’s Tangerine, best friends, transgender women, and prostitutes Sin-Dee and Alexandra (Kitana Kiki Rodriguez and Mya Taylor) catch up at a doughnut joint on…
The opening of Antoine Fuqua’s Southpaw, shot in gritty, grayed-out tones, is a grim harbinger: A fighter getting ready for the ring holds up his meaty paws for the ritualistic wrapping of gauze and tape. His gloves are slipped over the wrappings, and then they’re taped on too — but…
The problem with clamoring for more woman-led comedies is that actual comedy may be the thing that ends up being left by the wayside. Tina Fey, among others, has railed against the boneheaded dictum that women can’t be funny. But in the current climate of watchfulness — one in which…
There’s no one right way to show mental illness in the movies, yet there are hundreds of ways to get it wrong. Even though certain disorders come with specific traits, a diagnosis is not a human being, and doomed is the actor who just cycles through symptoms, rather than working…
Even if you live in the same city or town your whole life, the place you came from is always a distant country: Old trees are cut down to be replaced, one hopes, by new ones; shops and businesses change ownership or, worse, are torn down; landmarked buildings may stay…
The death of Amy Winehouse, in July 2011, at age 27, was one of the first great tragedies of 21st-century pop music, an event — like the deaths of Tupac Shakur and Kurt Cobain in the last decade of the 20th — that emphasized the jarring contrast between the fragility…
Hollywood lives by the simple, sad axiom “Where there’s money, there’s more money,” which is how we get remakes of movies that sometimes shouldn’t have been made in the first place, two Spider-Man reboots within five years, and a Star Wars franchise that ensures our children’s children will revere George…
Some movies are indefensible, and Ted 2 is one of them. Not only is this a movie about a libidinous, foul-mouthed stuffed bear; it’s the sequel to an earlier movie about a libidinous, foul-mouthed stuffed bear. But I laughed and laughed at Ted 2 — as I did at the…
Me and Earl and the Dying Girl may not be the best teen cancer weepie ever made, if there even is a best teen cancer weepie. But it’s surely the most adorable, for better or worse — less like The Fault in Our Stars and more like Diary of a…
Mia Hansen-Løve’s lucid and shimmering movie memoir Eden traces the sloping rise and even more meandering fall of a French techno DJ across some twenty years. Eden isn’t even about anything as broad as electronic dance music: It deals largely with the specific techno subgenre known as garage — at…
In Jurassic World, Colin Trevorrow’s Jurassic Park reboot — set 22 years after dinosaurs began walking the Earth, again — brontosauruses, stegosauruses, and velociraptors have become old hat, sort of like the mechanical Abe Lincoln at Disney World. Meanwhile, the habitat around them has gone Vegas.
What does the world sound like when you’re Brian Wilson? When you’ve made a record that sounds like cirrus clouds look — as Wilson did with the Beach Boys’ small modern miracle of harmony, the 1966 Pet Sounds — all bets are off when it comes to the way ordinary aural signals are processed on their journey through ear canal to eardrum and beyond.
The closeup, ostensibly one of a filmmaker’s most valuable tools, is now so overused that it’s practically meaningless. Thanks to TV — and to our habit of watching big-screen movies on increasingly smaller ones — we’re now so used to seeing a shot of one actor talking, followed by a shot of another responding, ad nauseam, that this volley of visual dullness barely registers anymore.
As a middle-aged woman, I rarely have a conversation with other middle-aged women in which the subject of movies “for us” fails to come up. As a critic, I don’t really think of movies in terms of which ones are “for” me and which are not, but I know what these women mean.
Fictional movies that tackle topical subjects often have about them the fusty air of a civics lesson, as if we’re supposed to watch while pretending we’re not being led down the path of righteousness. But writer-director Andrew Niccol’s Good Kill is something else; it’s immediate and vital, and it doesn’t…
