It’s not Oscar season without frontrunner backlash, and Three Billboards Outside Ebbing, Missouri is getting a lot of heat from a lot of places ever since its wins at the Globes and the Screen Actors Guild awards. But then the Oscar nominations happened. Notably absent from the Best Director category was Martin McDonagh, the playwright-turned-director at the helm of the Best Picture favorite and a previous Oscar winner for his short film Six Shooter. Could it be the backlash setting in? Or maybe it’s as simple as McDonagh making a writer’s movie and not a director’s movie? Continue reading “THREE BILLBOARDS is the movie of the moment, for better or worse”
Jeff Nichols’s latest film, Midnight Special, is a beautiful, sad, striking work of cinematic art. There’s my review in a nutshell. I loved it. But there’s a very strong criticism from even some people who share my opinion: That ending. Continue reading “Why That MIDNIGHT SPECIAL Ending Makes Perfect Sense”
Zack Snyder isn’t a filmmaker. He’s a bro with an entourage that happens to have cameras.
I’m not saying this to offend Mr. Snyder or his fans. I think they’re all aware of this. I’m saying it as a DC kid who grew up to watch his heroes become selfish man-children. And honestly, I’m not as outraged as I thought I would be after watching Snyder’s Batman v Superman: Dawn of Justice. Because it’s hard to be upset when you ask Pauly D to be Pasolini.
Even by today’s big, dumb summer movie standards, Jurassic World is probably one of the stupidest movies you’ll ever see. The third sequel to Steven Spielberg’s dino spectacular is so braindead that I’d call it an exercise in blockbuster self-parody if I thought for one moment the movie was self-aware enough to go there. It’s not. Jurassic World is just dumb.
Many moviegoers, not everyone, bemoan the onslaught of franchise films, universe entries, remakes and sequels that are announced every week (day?). It’s true, the idea of an original movie in Hollywood is a rarity. Even when something original does hit, it’s not likely to create the quasi-original imitators that were once the staple of formula film success. It’s the era of the Hollywood franchise and we’re just watching it.