It’s a pure survival story with an excellent cast and a well-measured sense of doom.
In the wake of these satisfying battles, the lightness with which the humans are handled isn’t a killjoy.
A movie that is fascinating in its first half, which is basically a feature-length setup full of promising starts and weird asides, but peters out as the plot kicks in and real structure must be applied. It thrives on Snyder’s idiosyncrasies , and while I can’t in good conscience call it a success, it’s just about the best such an ill-conceived mess could’ve ever become.
I Care A Lot plays a tough game. It’s not an unfamiliar one, not by a long shot, but that doesn’t make it easy to stomach. A tale of greed and capitalism that can’t even be called allegory since it speaks of its themes directly, it’s a story of terrible people doing terrible things, and you’re not supposed to feel good about any of it.
The World to Come, is, you guessed it, a period romance between two white women. That unfortunately places it on a continuum that’s become stale, meaning something extra is required of it to stand out. And that’s where the movie falls a bit short, not with any big flaw but in not achieving anything truly great, and hence it seems doomed to fade into the ether.
No amount of slick story beats and scene chewing from Washington, Malek, and Leto can save such a thoughtlessly outdated premise.
Happiest Season knows the moment it’s in and how much it can push the boundaries, and it doesn’t dare come anywhere close to the edge. The win is simply getting an adequate one out there that everyone, not just queer people, will feel the need to see, and then not be put off seeing more. And in that sense, it plants its flag firmly so others can follow.
The Half of It clips along beautifully, giving you all the sweet charm of your favorite rom-coms while also giving you some thoughtful meditation on what love is (even if it is filtered through teens).
Tigertail is a swift 96 minutes long, but it’s one of the few movies where I’d recommend it going longer, using the time to fill in the blanks and make the whole movie feel as arresting as its early scenes. As is, it’s not a complete wash, but it’s hard to drum up a lot of enthusiasm for something that feels half-baked.
The more interesting thing that comes of this movie is its upending of our assumptions about teenage girls. Frivolity is nowhere to be found, and neither is objectification or dismissal.