"The Power of the Dog" is a slow-burn balancing act, that admittedly, felt like a lot to chew on upon first viewing. But wow does its flavor linger.
A beautifully composed, intimate story of a man, a boy and a couple in the open ranges of Montana set the mid 1920s, "The Power of the Dog" is one of the most stellar achievements in story-telling you'll ever witness, a film that is challenging and compelling all the same, that wraps itself around the viewers, twisting our perceptions, and almost assuredly forces deep, intellectual post-viewing discussions.
If Hamilton creator Lin-Manuel Miranda is capable of doing anything wrong, he's yet to prove it. His directorial debut, "tick, tick...BOOM!" is a gloriously energetic ode to the theater, and one of its greatest creative minds, Jonathan Larson, the one-of-a-kind talent who gave us "Rent."
Before you go off ready to hand this year's Oscar to Will Smith or Benedict Cumberbatch, don't sleep on Andrew Garfield. He is an absolute firecracker as Larson and a commanding screen presence who single-handedly energizes each frame he's in. This is a crackling performance in an equally impressive film...one of the best of 2021 for sure ("tick, tick...BOOM!" is streaming on Netflix starting 11/19/21).
Actress Rebecca Hall wrote the screenplay and directs her first film in the astonishing yet awkwardly cold "Passing," now streaming on Netflix.
Who doesn't love Dwayne Johnson, Gal Gadot or Ryan Reynolds? Throw them all together however, and the individual flavors just don't mix.
"Red Notice" is a serviceable but forgettable action-comedy - directed by Rawson Marshall Thurber, who teams with "The Rock" for their third film together. Their previous two films are spiritual cousins to "Red Notice" - "Central Intelligence" and "Skyscraper" - movies that are light and implausible, that seem to want to drift by based on the sheer star-power of the actors involved, instead of offering up anything innovative to the genre.
Yes, the "Red Notice" cocktail of Johnson, Gadot and Reynolds may look delicious from a distance, but an ounce of "originality" is the missing ingredient that might have made it go down a bit smoother.
"They just don't make 'em like they used to"...is a phrase that can be retired after watching the wildly entertaining new Western, "The Harder They Fall."
Well technically, they've NEVER made movies quite like this, as people of color have all but been left out of Westerns, or relegated to stereotypical roles, during the genre's boom in the early days of Hollywood. Director Jeymes Samuel makes up for lost time by packing his movie with an all-star cast, plenty of gun-fighting, and a stylish-comedic vibe that makes "The Harder They Fall" one of the more pure entertaining films of the year (it has previously been in theaters but releases on Netflix's streaming platform today, 11/3.)
An assassin with a heart of gold (Mary Elizabeth Winstead) has less than 24 hours to live, so she uses her finite time on the planet to take down as many of her enemies as she can.
That's the elevator pitch for "Kate," and despite some stylish action, this is an all-too-familiar thrill ride devoid of any real thrills...a film that will remind you of other films but that doesn't quite rise above any of them.
What is the value of a human life? Almost everyone would most likely agree that it's absurd to place a dollar amount on the worth of a person's life, but that's exactly what D.C. attorney Ken Feinberg (Michael Keaton) was tasked with.
In the days and months following the horrendous terrorist attacks on 9/11, Feinberg stepped in trying to do the right thing: He was heading up the daunting job of coming up with financial compensation for the victims of 9/11 and their families. But how does one go about valuing the compensation one should receive for the loss of a parent, sibling or child? Again I ask: What is the value of a human life?
The soapy, melodramatic romance, "The Last Letter from Your Lover" has it all when it comes to what one might expect from such a film: Forlorn lovers, forbidden affairs, characters with amnesia, car wrecks, handwritten letters complete with voice-over, lavish costume designs and sets, chance encounters, and a love that spans decades.
It's a bit predictable and unapologetically cheesy at times, but it's also reminiscent of a different era of film...they just don't make movies like this one anymore, so it feels oddly invigorating to see that this sort of classic romance is still alive and well, at least on the big-screen.
Finally, a movie that actually IS cool, instead of one that keeps desperately insisting so.
"Gunpowder Milkshake" is not without misfires, but it creates one hell of an explosion of fun.
Our country has never been more polarized, and facts have never been as important as they are now. But despite our differences, we should all be able to come together with pride to denounce that the new, R-rated, raunchy, gory, silly "America: The Motion Picture" tries way too hard at pretty much everything it attempts to do.
This might be the revisionist history we deserve, but it's more of a missed opportunity.
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