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.
Festival de Cannes
MOVIE REVIEW
The New Boy (2023)
Cate Blanchett became a global superstar so quickly after her movie debut that it’s been a very, very long time since she has played an Australian. Evidently life in lockdown had her reconsider; and she worked closely with writer-director-cinematographer Warwick Thornton to bring “The New Boy” to the screen, starting with the Cannes Film Festival. She is one of its producers, as is her husband Andrew Upton, and their daughter Edith Upton is credited as a “morale officer.” It is a showcase for herself and the 9-year-old Aswan Reid as the new boy, in a parable of religion, duty and how rules for living both create and prevent happiness. It is a strange and sad experience, and unfortunately not imaginative enough to have its desired effect.
DreamWorks Animation
MOVIE REVIEW
How To Train Your Dragon 2 (2014)
“How to Train Your Dragon 2” drifts even further away from Cressida Cowell’s book series: Hiccup (voiced by Jay Baruchel) and friends have grown up, while Vikings and dragons coexist peacefully in Berk. Valka (Cate Blanchett) — long presumed dead after giving birth to Hiccup — turns out to be some reclusive conservationist jungle woman. Meanwhile, renegade Drago Bludvist (Djimon Hounsou) has been assembling a dragon army to wage war on Berk.
MOVIE REVIEW
The Hobbit: An Unexpected Journey (2012)
James Fisher/Warner Brothers Pictures
No one will ever know what visual delights auteur and cinematic genius Guillermo del Toro would have conjured up for Middle Earth; but in the hands of Peter Jackson and his team, everything seems comfortable and familiar, or is it?
This is definitely Middle Earth, but a more innocent and happy place than seen in “The Lord of the Rings.” Four hundred years of peace have made the colors brighter, the world is greener, the skies bluer. Even Lord Elrond (Hugo Weaving) is more jovial than ever before. This is a different world. Sauron (Benedict Cumberbatch as Necromancer, replacing Sala Baker) is still in his deepest slumber; and although evil is stirring, a shadow moves to the East, no-one has anything to fear. This is not “The Lord of the Rings.”
MOVIE REVIEW
Robin Hood (2010)
David Appleby/Universal Studios
You don’t need to see Ridley Scott’s “Robin Hood” to know exactly what you’d be in for if you did. For that, one need only look to the director’s “Gladiator” and “Kingdom of Heaven,” or, failing those, any swords-and-sandals Hollywood epic set in medieval England.
The charm and underdog attitude of the bandit of Sherwood Forest and his merry men have been scrubbed out, replaced by Russell Crowe’s intensely serious visage, a glum story about unjust taxation and expertly choreographed large-scale action scenes that are anathematic to the personality-driven legend.
MOVIE REVIEW
The Curious Case of Benjamin Button (2008)
Merrick Morton/Paramount Pictures
Like Danny Boyle, David Fincher is a filmmaker whose stylish sensibility almost always leaves moviegoers cold. But also like Mr. Boyle, Mr. Fincher has this year stumbled upon a movie with a heart and excelled. Based on an F. Scott Fitzgerald short story, “The Curious Case of Benjamin Button” would most likely have been a horrific, vomit-inducing train wreck in the hands of a Steven Spielberg or a Ron Howard. The aging-backward premise notwithstanding, the film is basically “Forrest Gump” meets “Legends of the Fall” meets “Meet Joe Black,” complete with Gumpian historical anecdotes (Teddy Roosevelt instead of JFK this time!) courtesy of “Gump” screenwriter Eric Roth. Thank goodness Mr. Fincher has the clinical precision of a music video director, and here counterbalances the otherwise go-for-broke sappiness of all the separations and deaths in the “Benjamin Button” screenplay.