When then-Marvel Entertainment CEO Ike Perlmutter penned an email in 2014 listing examples of failed super hero flicks that were female led, it’s not hard to imagine he was debating the value of adding a Black Widow solo film into the Marvel Cinematic Universe.
A little over a year ago, A Quiet Place: Part II was the next movie on my to-review-list when the world fell apart and everything closed down. So it was only fitting that my first “normal” press screening with colleagues would be this film, some 15 months after it was …
Movies are always a reflection of the times, and so it’s only been a matter of time before we started seeing face masks and hand sanitizer show up in the confines of Hollywood’s fictional mirror. Writer and director Ben Wheatley’s In the Earth is the first pandemic-set movie I’ve seen since experiencing one personally, and if I’m honest, I wasn’t looking forward to the experience. Too soon, anyone?
When you see a movie like Godzilla vs. Kong, you don’t really expect to walk away thinking one of them was a definitive winner or loser. You expect lots of larger-than-life battles as humans scramble to avoid being crushed like ants, near-death knockouts, and something resembling a tie score at the end of the day.
We need a word for when something plays out in a way that makes perfect sense and somehow still manages to be surprising at the same time. And if that word existed, it would be the perfect adjective to describe Promising Young Woman.
The moment a youthful Steve Trevor (Chris Pine) appeared in promos for Wonder Woman 1984, a sequel to the World War I era Wonder Woman, it was clear there’d be some kind of gimmick involved. But really, who cares? The chemistry between the two was great in the first film, and superhero films are rarely planted in realism. It turns out that gimmick is wish fulfillment – and the unexpected price you pay for that wish coming true.
I couldn’t think of a more apt metaphor for both the highs and lows of Wonder Woman 1984.
Hobbies are funny things. As adults, we often come by them casually and with little sense of obligation. Maybe a friend convinces us to run a 5K with them and we find unexpected joy in running, or a quick search on Ancestry.com evolves into a years-long project to trace our …
Season 4 of The Crown is here. This is arguably the most anticipated season of the Netflix hit yet, by virtue of the ground it has to cover: anyone old enough to remember that fateful Paris car crash knows this season begins the public unraveling of one of the most private famous families in the world.
Another day, another “It’s fine, but the original was better” remake.
We look at Evil Eye and Nocturne, the most recent films from Amazon’s partnership with horror studio Blumhouse.
The ingredients of the second series are basically the same as the first, though it’s a completely new story. Several cast members from The Haunting of Hill House have returned in new roles. On top of that you’ve got plenty of familial strife, a cast of characters each haunted in their own way, and the bones of it all: the haunted house itself.
Two kids. A husband. A house in the suburbs. Bowling. Apple Pie.
The Swerve introduces us to the dread of its world in everyday, comfortable objects.
The Personal History of David Copperfield has been part of a parade of ‘oh-wow-are-they-making-a-movie-of-that-again?’ literary classic film adaptations to roll through the theaters (or, perhaps, our at-home-theaters) in the last 12 months.
The Boys Season 2 continues to do what it does best – highlight the narcissistic and capitalist greed surrounding the “branding” of superheroes – while adding a new layer of terror to the world’s least heroic do-gooders.
Metaphorical psychological horror directorial debuts from Australian female filmmakers – do we have a future possible hyper-niche listing for viewers scrolling Netflix?
