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.
Continue reading “The Long Goodbye” »
Fredrik Wenzel
MOVIE REVIEW
Triangle of Sadness (2022)
“Triangle of Sadness” continues writer-director Ruben Östlund’s preoccupation with the upending of hierarchical social constructs – gender, race, wealth, class, chain of command etc. – in the face of disasters natural or manmade. It’s certainly the kind of stuff that plays well at festivals, as evidenced by Cannes twice bestowing on him the Palme d’or. But does anyone honestly remember what happens in “The Square,” which won him his first in 2017, without looking up the plot? “Triangle,” Mr. Ostlund’s second Palme d’or winner, has a wild ending that feeds right into the rush of the festival setting; the problem lies in the uneven two and a half hours it takes to get there.
Continue reading “Ship of Fools” »
MOVIE REVIEW
Seven Psychopaths (2012)
Chuck Zlotnick/CBS Films
“Seven Psychopaths” brings to mind the Tarantino knockoffs that Miramax used to crank out on the assembly line during its mid-1990s heyday, when such movies were de rigueur among neophytes straight out of film school. Their snappy one-liners, gratuitous gore and self-aware metaness have often seemed more impressive to the filmmakers themselves than to card-carrying cinephiles. While Quentin Tarantino himself references iconic filmmakers from Jean-Luc Godard to John Woo, those who reference Mr. Tarantino instead merely expose themselves as blissfully ignorant hacks who could really use a college-level introductory film course.
Continue reading “Reservoir Dog Pile” »
MOVIE REVIEW
The Hunger Games (2012)
Murray Close/Lionsgate
“The Hunger Games” takes place in a future comprised of disparate historical influences. The grand spectacle of the ancients sits in company with totalitarian oppression and the deprivations of recession-hit America. It is as if the apocalyptic conflict that created this dystopia had shattered time itself only for the remnants to be hastily glued back together by a deity on a busy schedule. Similarly, “The Hunger Games” is born from a myriad of cultural sources so that nothing in it can be classed as wholly original.
Continue reading “Love Will Tear Us Apart” »
MOVIE REVIEW
Rampart (2011)
55th BFI London Film Festival
“Rampart” is a symphony of bad decisions and their consequences. For example, early in the film Los Angeles cop Dave Brown (Woody Harrelson) chats up a woman (Audra McDonald) in a bar, who persists in wanting to converse despite Dave’s dramatic insults. Evidently, she has a serious cop fetish. When she cheerfully presses for his nickname around the station, he shrugs: “It’s Date Rape.” She flinches; and he explains that many years ago he was involved in a shooting in which a serial rapist was killed. Dear reader, she sleeps with him anyway.
Continue reading “Weasel Weapon” »
MOVIE REVIEW
Friends With Benefits (2011)
David Giesbrecht/Screen Gems
Gawker declared “Friends With Benefits” its favorite movie throughout July and August 2010 during its filming in New York. Although one’s never sure if such a distinction comes with a side of sarcasm, it’s not difficult to figure why the finished product would cease to be on Gawker’s good side. At the beginning of the film, Justin Timberlake works at a TMZ-esque blog in Los Angeles as its art director. The fact that his job entails responsibilities generally dumped on some unpaid intern proficient in Photoshop notwithstanding, Mr. Timberlake uses a giant iPad-esque touch-screen content-management system that’s a thing of the future. What’s more, a recruiter played by Mila Kunis has spent some six months persuading him to interview in New York for the art director position at GQ. Not only does he get an offer despite wearing an off-the-rack outfit to the interview, but along with it a plush, spacious luxury apartment that rents for at least $5,000 a month to ease the sting of Condé Nast’s reputedly paltry wages.
Continue reading “Know the Strings Attached” »
MOVIE REVIEW
Zombieland (2009)
Glen Wilson/Columbia Pictures
In order to survive the undead-infested America depicted in “Zombieland,” the film’s highly-phobic and anal young protagonist Columbus (Jesse Eisenberg) adheres to his own set of rules. Scribbled into a pocket-sized notepad, his guidelines range from the obvious (“Rule No. 31: check the back seat”) to the darkly humorous (“Rule No. 3: beware of bathrooms”). The rule that will best prepare viewers of “Zombieland” for maximum satisfaction comes not from Columbus, but his newfound travel partner, Tallahassee (Woody Harrelson), an eccentric killing machine who’s the Chris Farley to Columbus’s David Spade. It’s simple, really — “Rule No. 32: enjoy the little things.”
Unwavering in its off-center humor, “Zombieland” packs so many sight gags and droll one-liners into its rapid-fire 85 minutes that it’d be easy to under-appreciate the small details. If Rule No. 32 is embraced, though, “Zombieland” equates to brainless enjoyment of the most well-executed caliber. The horror-comedy wheel isn’t reinvented, but that’s measly potatoes when a main character’s biggest concern isn’t becoming corpse food, but finding the nearest Twinkie. And the payoff of his Hostess mission? A crowd-pleasing “D'oh!” moment right out of Homer Simpson’s playbook. “Zombieland” overcomes its ailments by simply going for comedic broke.
Continue reading “Making Light of the Living Dead” »
MOVIE REVIEW
Management (2009)
Suzanne Hanover/Samuel Goldwyn Films
If, as some people believe, that the best comedy is grounded in truth, then it is no wonder that “Management” falls so flat on its face. The film begins with an unbelievable scenario and then proceeds to get progressively sillier as it goes along. Not that there is anything inherently wrong in silly – Monty Python made a pretty good career out of it – but it needs to work in conjunction with “funny” to be successful, and “funny” is not a word that springs to mind in the case of “Management.”
Continue reading “I’ll Be There for You, Literally” »