No matter how hard a film tries to convey a profound message through imagery and symbolism, if it doesn’t have a cohesive narrative underlying that undertaking, it’s not likely to succeed. Such is the case with this latest offering from writer-director Anthony Chen, who tells the story of three diverse but disconnected twenty-somethings (Dongyu Zhou, Haoran Liu, Chuxiao Qu) seeking to find their way in life.
In addition to telling an individual’s life story, one of the other primary objectives of a film biography is to provide insight into the protagonist’s character and nature. Unfortunately, that’s where this profile of reggae icon Bob Marley (Kingsley Ben-Adir) tends to come up somewhat short.
Near the end of his life in 1939, Sigmund Freud (Anthony Hopkins) held one last session at his London home after fleeing the encroaching Nazi oppression in his native Vienna. At that time, just as the German blitzkrieg against Poland was beginning, Freud is said to have met with an Oxford scholar, believed to be author and theologian C.S. Lewis (Matthew Goode), in a lengthy session in which the duo discussed a variety of subjects.
Wow – what can one say about this wild, woolly, wigged-out spoof of superhero movies in which the protagonist is an edgy, crusading transgender harlequin comedian fighting the power structure of a corrupt, narrow-minded society? That description alone is pretty wacky in itself, but, as the finished product shows, its depiction on screen is even more bizarre and outrageous.
Is “the American Dream” still alive and well, or is it a pipe dream whose time has come and gone (and perhaps never really was)? That’s the question rhetorically posed in this modestly entertaining fact-based debut feature comedy from director Paul Dektor, which examines the efforts of an optimistic yet cynical economics professor/would-be novelist (Peter Dinklage) with meager means who repeatedly attempts to buy a home far above his pay grade.
Movies that provide us with an inside look at the lives of communities different from our own can show us just how much alike – and not alike – the constituencies of those cultures truly are from our own. It’s especially intriguing when such films cross species lines, examining societies of beings different from ourselves, an undertaking tackled in the latest project from the acting-writing-directing duo of David and Nathan Zellner.
No one ever said growing up was easy. It’s inherently a time for a lot of hard lessons, but they’re the kind of teachings that we need to help prepare us for adulthood. And, depending on the circumstances, it can be particularly challenging but also rewarding at the same time.
In times of widespread duress, there’s no telling what lengths we’ll go to in order to survive. That’s what an Argentine family is forced to do when a national pandemic strikes that affects all manner of everyday life, things we take for granted like utility service, fuel supplies and even grocery availability. Fortunately, they’re in a relative “bubble” of safety on a remote family ranch, to which they came for a visit to care for the ailing family patriarch.
It’s true what they say about not being able to judge a book by its cover – or a movie by its trailer or description. Such is the case with writer-director Agustín Godoy’s debut feature, a trainwreck of a film that makes virtually no sense from start to finish.
If I had to come up with one word to describe writer-director Woody Allen’s latest film, it would have to be “inconsequential.” This flat, uninspired slog about the trophy wife (Lou de Laâge) of an overly possessive well-to-do Parisian businessman (Melvil Poupaud) who has an affair after a chance meeting with one of her old classmates (Niels Schneider) is close to a career low point for the famed auteur.
