In "You People," a new R-rated comedy hitting theaters and Netflix simultaneously, a white man, Ezra (Jonah Hill) and a black woman, Amira (Lauren London), fall in love. All is good, until they are introduced to each of their families.
Forget what you know about the story of "Pinocchio," and then please, please, PLEASE forget about the recent Disney+ live-action remake from earlier this year.
I entered the theater thinking to myself: Is this what we need, another Pinocchio movie?
I left the theater, shocked and elated that I had just seen without a doubt one of my top overall (animated or otherwise) movies of 2022.
If you liked 2019's "Knives Out," then there is no reason why you won't love "Glass Onion: A Knives Out Mystery." If there was ever a movie worth checking out in theaters instead of at home on streaming, this is it ("Glass Onion" is in theaters only for one week before being made available to stream on Netflix on December 23rd).
"The Good Nurse" is based on a true story, about a series of mysterious patient deaths that were all linked back to one particular person.
The story is actually a frightening and intriguing one. But as given to us in "The Good Nurse," this is a clumsy, poorly-written (and at times, poorly-acted) mess of a so-called "thriller."
There have been worse family-friendly Halloween films than "The Curse of Bridge Hollow." Heck, there have even been worse Halloween films starring Marlon Wayans (see 2012's "A Haunted House," or on second thought, don't).
A few mildly scary sequences and maybe a handful of curse words are the worst of what you'll find in "The Curse of Bridge Hollow" (now streaming on Netflix), a film that is not "good" by any means, but one that at least isn't painful to sit through. The bar is high when it comes to Marlon Wayans comedies, I guess.
Ana de Armas is a striking Marilyn Monroe. She nails the mannerisms, the facial expressions and the body language. With an impressive team of makeup, hair and costume artists, she becomes Marilyn Monroe, aka Norma Jeane.
This is the irony of "Blonde," a muddled, artsy and empty biopic about the iconic actress: For a woman whose talents were always overshadowed by her physical appearance, the movie looks just swell, but it is so caught up in its own glamour that it fails to glance inward.
Marilyn has always captivated the public, but we wish we knew more about her thoughts, her motivations, her mind. "Blonde" does none of this, even while pretending to pull back the curtain on her life. Instead, it perpetuates the same myths, stereotypes and negativity that has always been cast upon Monroe. This movie is not an answer to any questions we had about her. Instead, it represents part of the problem.
Two new films are on Netflix as of July 8th, and both are recommended! Read on for quick takes on each of Netflix's "The Sea Beast" and "Persuasion."
Director Joseph Kosinski is flying high in Hollywood right now, with the much-needed, record-breaking success of his film "Top Gun: Maverick" now on his resumé. His follow-up film, "Spiderhead" (streaming on Netflix on 6/17) will likely be overlooked, as it should, when studios consider him for future projects, as it seems there was no energy left to give to this mildly clever, but mostly banal, dud of a film following how much he was able to pack in to "Top Gun: Maverick."
Using a similar animation technique that he did on some of past films (like "Waking Life" and "A Scanner Darkly"), Richard Linklater takes us on a nostalgia-fueled trip down memory lane, in one of the best films of this young year, "Apollo 10 1/2: A Space Age Childhood."
It masquerades as a story about the moon landing, but it's really a celebration of a different time, back when the future looked hopeful, and a child's mind - as well as an adult's - could still be filled with wonder.
The totality of the new pandemic comedy, "The Bubble," reminded me of a scene from "National Lampoon's Christmas Vacation." When Clark Griswold excitedly goes to plug in the electric cord that will turn his home into a spectacle of lights, nothing happens. The switch is off, and he can't seem to figure out why all of his hard work wasn't paying off, and why the lights weren't firing on.
That's "The Bubble" in a nutshell: All the lights are in place, there seems to be an impressive display on the horizon, but just nothing turns on. Nothing works. There are jokes, a fantastic ensemble and clever set-ups, yet the laugh switch rests firmly in the "off" position.
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