Critic's Notebook

Brett Roedel/Disney

A group of 35-year-olds are pulled back into high school in “Never Change!,” through petty bureaucracy rather than magical body-swap or cinematic fable. It seems the graduating class of 2008 at North Meadows High School never technically graduated. Now they must spend two weeks back in the classroom to complete coursework and receive diplomas, under onerous legislation called the Education New Deal. Their original school days were curtailed by a destructive tornado, i.e. by a rare natural event rather than one of the frequent unnatural events that interrupt the education of U.S. high school students in the real world, or end their lives altogether. Marty Schousboe’s comedy, screening at Tribeca Festival en route to streaming on Hulu, makes one direct mention of this parallel, of the risk for any student that coming to school might mean they don’t make it to 35 at all: a teacher notes that compared to 2008, modern high-school can be “a bit funky.”

Continue reading “High School Consequential” »

“In the Hand of Dante” emerges as the most controversial selection at Venice International Film Festival. In and of itself, it is not the least bit offensive, but thousands of Palestine supporters took to the streets on Aug. 30 in Lido, the island where all festivities are based. It’s no surprise that 1,500 industry types petitioned to ban the film’s Israeli star, Gal Gadot. Though she has ultimately skipped the world premiere, “In the Hand of Dante” is still catching heat in the press due to director-cowriter Julian Schnabel’s defense of his star.

Continue reading “Literary Gem” »

Kathryn Bigelow’s latest, Venice International Film Festival competition entry “A House of Dynamite,” is, for the most part, one of those end-of-days Armageddon movies, except it never actually culminates in special effects-laden spectacles of total obliteration. The film does not follow the Michael Bay or Roland Emmerich blockbuster tradition. Instead, it focuses solely on those behind the scenes trying to respond and stave off the impending destruction.

Continue reading “Nuclear Options” »

Mary Shelley’s 1818 novel, “Frankenstein; or, The Modern Prometheus,” has inspired nearly 20 films, among them a few sequels and even a parody from Mel Brooks. Interestingly, the vast majority of them are modernized reimaginings. Up to this point, the most serious attempt at a straight adaption has been Kenneth Branagh’s 1994 “Mary Shelley’s Frankenstein,” a misguided disappointment on all accounts thanks to the director’s runaway ego.

Continue reading “Death Wish” »

Noah Baumbach’s “Jay Kelly,” premiering at the Venice International Film Festival, must be inspired, at least in part, by Federico Fellini’s “8 1/2.” If so, it’s appropriate that it stars the Marcello Mastroianni of our time, George Clooney, in the titular role. Though the protagonist here isn’t a filmmaker but a movie star.

Continue reading “Misleading Man” »

Paolo Sorrentino’s latest and this year’s Venice International Film Festival opener, “La grazia,” is the antithesis of “Il divo” and “Loro,” his previous features centering on political leaders, despite it also starring his go-to leading man, Toni Servillo, who played Giulio Andreotti and Silvio Berlusconi, respectively, in the previous films.

Continue reading “Uneasy Lies the Head That Wears a Crown” »

This is Spike Lee’s second stab at remaking an Asian masterpiece. The first, 2013’s “Oldboy,” based on Park Chan-wook’s 2003 Cannes Grand Prix winner, was faithful down to replicating the iconic single-shot corridor fight scene. But it wasn’t well received at all. The result wasn’t as dark or as sickly funny as the original. Perhaps Josh Brolin should have chowed down on a live octopus for good measure.

Continue reading “Success Not Guaranteed” »

“Broke” is worth seeing just to watch Wyatt Russell slump against a wall, or stand next to someone, or hold out his hands to show he’s not a threat. He works with his hands, risks his life for a living and finds his joy in tiny moments of physical perfection. You see a lot of these men in the military or doing the kind of risky heavy work found on a farm. “Broke” reflects this way of moving through a focus on how its people express their feelings through doing instead of talking. It’s a fine story very well shown, not told.

Continue reading “Last Rodeo” »

After enjoying a fruitful partnership with Netflix on 2018’s “Roma,” Alfonso Cuarón has doubled down on streaming with a whopping 7-episode miniseries, “Disclaimer,” for rival Apple TV+. It’s of the caliber we’ve come to expect from the Oscar winner’s films. He doesn’t let quality suffer because of quantity here. The series, screening at the Venice Film Festival, more than holds its own against other buzzy world premieres.

Continue reading “Notes on a Scandal” »

“Wolfs” is the new action-comedy starring Brad Pitt and George Clooney and directed by Jon Watts, who is responsible for the last three “Spider-Man” movies. It should get some butts in seats on these names alone; here we have two of Hollywood’s surviving movie stars who’ve earned their stripes before the industry’s almost complete pivot to IPs in an effort to draw box office. But these household names and their screen personae can be a blessing and sometimes a curse. Case in point: “Wolfs.”

Continue reading “The Odd Couple” »