Apple TV+
STREAMING REVIEW | 'DISCLAIMER'
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.
Apple TV+
MOVIE REVIEW
Wolfs (2024)
“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.”
La Biennale di Venezia
MOVIE REVIEW
Broken Rage (2024)
It’s always delightful when a beloved director decides to do a silly one. Based on the overexcited cheers and fervent applause at the piracy warning – not even the opening credits! – before the first press screening at the Venice Biennale, “Broken Rage” is going to be met with howls of delight wherever it goes. It’s a 62-minute-long parody of crime cinema, written, edited and directed by Takeshi Kitano, starring himself. It is also an entirely coherent cinematic experience even as it twists in upon the story it is telling; and it makes the delightful choice of getting stupider by the second. This is unlikely to be the capstone to Mr. Kitano’s career, but regardless “Broken Rage” obeys two important showbiz adages: always leave them laughing; and always leave them wanting more.
Tribeca Festival
MOVIE REVIEW
Brats (2024)
Andrew McCarthy was a likable young actor in his 20s and now makes a likable documentarian in his 60s, digging back into his own past life. "Brats" follows Mr. McCarthy on a road trip visiting some of the other former members of the group of 1980s actors loosely – or lazily – grouped together by the media under the label of "the Brat Pack," although the looseness and laziness of the term are two of the things that prove to rankle interviewer and interviewees alike. Having already written an autobiography under the title "Brat: An '80s Story" in 2021, Mr. McCarthy has gone from the singular to the plural, reconnecting with actors and crew he has not seen for decades, to test whether they are still unnerved by the memory of the B-word as much as he is.
Mubi
MOVIE REVIEW
Crossing (2024)
A movie that revolves around two Georgians in Istanbul, Turkey, looking for someone they know, “Crossing” is very reminiscent of “Central Station.” Ain’t nothing wrong with that! The Walter Salles film is a masterpiece that others should aspire to emulate. It also sets the bar impossibly high.
Shanna Besson/Apollo Films
MOVIE REVIEW
Dogman (2024)
Many an underdog ultimately has their day – often it's her day – in Luc Besson films, and in "Dogman" some actual canines ride the roller-coaster of abuse and transcendence that the director likes to think about. So too does their male human ally, Douglas (Caleb Landry Jones), whose childhood of relentless suffering culminates when his own Neanderthal father blasts him with a shotgun for the crime of caring about some helpless and photogenic puppies. Now largely confined to a wheelchair, an adult Douglas lives in a dilapidated old school with a pack of equally world-weary dogs, liberated from a pound. After what must have been some formidable training, which the film declines to show, he and the dogs happily cohabit in mutual respect and support. They fetch Douglas the correct ingredients from the kitchen for his cooking, and listen raptly while he reads Shakespeare to them. Retreating from society but still helping those who come to him with problems, Douglas sends his canine colleagues out on coordinated missions of justice, like Nick Fury dispatching the Avengers. The dogs evade capture and squeeze past obstacles and scamper between legs and through closing doors in order to locate exactly the right Latino gangster, and then clamp their jaws on his nuts.
Vertical
MOVIE REVIEW
Our Son (2023)
It’s no one fault, or it’s both their faults, but even with the best will in the world sometimes marriages just can’t be saved. In the case of book publisher Nicky (Luke Evans) and stay-at-home dad Gabriel (Billy Porter) neither of them has been perfect – overwork here, infidelity there – but the main issue is their different parenting styles for their son, Owen (Christopher Woodley), and the resentment which has seeped in until it’s the only thing they can feel. But “Our Son” is not a gay “Marriage Story,” even if that’s the easy marketing tagline which brought it to BFI Flare. Instead it’s about ordinary adult disappointments between an ordinary couple who happen to be gay and the ways in which their homosexuality directs the choices around their completely ordinary divorce.
Larry Horricks/Netflix
MOVIE REVIEW
Spaceman (2024)
After “Gravity” came out, Tina Fey famously quipped that it’s about how George Clooney would rather die in the blackness of space than spend time with a woman his own age. Along those lines, “Spaceman” is about how Adam Sandler would rather die in the blackness of space than spend time with his pregnant wife. Deep space is a long way to go to learn that your wife’s feelings are just as valid as your career; and a talking space spider is one hell of a therapist, but hey, whatever works.
Eric Zachanowich/Searchlight Pictures
MOVIE REVIEW
Suncoast (2024)
End-of-life care becomes an issue on almost everyone's plate one way or another. The dilemma faced by the family in "Suncoast" as they place Max (Cree Kawa), a young man dying of brain cancer, into a hospice will resonate a little or a lot with most people; for this is the art and craft of the medical drama, to which few are fully immune. In this one premiering at the Sundance Film Festival, writer-director Laura Chinn gives the mother of the patient, Kristine (Laura Linney), and her other child, Doris (Nico Parker, daughter of Thandiwe Newton and with some of her mother's wary watchfulness), equal focus in their shared but different grief. So the film is about one parent's agonies and one young woman's coming-of-age at the same time, two films for the price of one. And there's a political dimension, since Ms. Chinn sets her story in 2005 at the same hospice where Terri Schiavo is receiving care, the real-life right-to-die case playing out in the background on all news channels. The tact and delicacy of the film will have much to do with all this being based on experience: the film maker has fictionalized things for narrative purposes, but Ms. Chinn's brother did die in that hospice; it was at that time; and she was that sister.
Clay Enos/Netflix
MOVIE REVIEW
Rebel Moon — Part One: A Child of Fire (2023)
Is there anything more terrifying in a film’s title than the words “Part One?” Here it’s a serious threat. “A Child of Fire” is so bad it’s created a new level of awfulness. Thanks to some excellent C.G.I. it’s gorgeous to look at, but so empty of interest that the false beauty is meaningless. In the opening-night public screening this critic attended the only time the audience reacted to anything – anything – was Charlie Hunnam’s appalling Northern Irish accent. It is difficult to understand how a movie so carefully and expertly made could be so devoid of feeling. It’s like 134 minutes of trying to touch a fish by putting your hand to the aquarium glass, only not nearly as much fun.
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