120 Battement Par Minute (Beats Per Minute) is director Robin Campillo’s second major film. The two and a half hour movie discusses many aspects of the French AIDS epidemic in the 1990s through a mostly historical fiction lens with some real documentary found footage. Campillo seems to define the afflicted gay community through an on-screen combination of sex, death, dancing and group solidarity. Even if there is disagreement among the more extreme members of ACT UP, the AIDS awareness group the film centers on, the entire community still feels connected.
Based on the New York Times bestseller, “Wonder” tells the beautiful story of August “Auggie” Pullman, a 10-year-old boy with an extremely rare facial deformity, attending school for the first time after being homeschooled by his mother all of his life. The film is heart-warming and inspiring -- especially school-aged students. ‘Wonder’ has the capability to really spark change amongst families with children living with facial deformities. Its emotional and honest depictions of love, kindness, and forgiveness are exceptional. The child cast did a beautiful job of capturing the real-life reactions to a new student with unique facial differences, however, some may have missed the mark when it came to really pushing the envelope during the very emotional scenes.
In his 2008 cult hit “In Bruges,” writer and director Martin McDonagh depicts two hitmen out on a contract in Bruges, Belgium. While the film never strays far from the macabre inevitability that someone is going to be murdered, the relationship between the two hitmen is akin to that of an old married couple trying to salvage their marriage by taking a vacation.
“Justice League” opens with a smartphone video recording Superman. Children behind the camera hastily ask him questions about his sigil and stumble into their ending question, “What’s your favorite part of planet Earth?” Henry Cavill freezes and ponders his newly adopted homeland, he looks down and smiles -- before he can give us an answer the screen cuts to black.
When Quentin Tarantino’s “
The Hateful Eight” came out in 2015, it was lauded as a grand success. Tarantino was able to craft a unique murder mystery spanning 167 minutes with only one major set piece. For all intents and purposes, it was a cinematic triumph. While “Murder on the Orient Express” seems to take note of Tarantino’s success, it fails to even come close.
“God’s Own Country” has been compared quite a lot to
“Brokeback Mountain,” as they’re both meandering tales about finding forbidden love in the countryside. They both cross the entire spectrum of emotion from sweet to tragic and back again, but “God’s Own Country” deviates from the picturesque mountains of Wyoming, instead taking place in the gray, cloudy British countryside.
“Wonder Woman” was a smash hit at the box office, but is that enough to permanently change things for women in Hollywood?
The gang from Hawkins, Indiana is back; a year older and a little bit wiser as they take on a new, but familiar challenge, in the second season of Netflix’s ‘80s love letter, “Stranger Things.”
Marvel is an unstoppable machine in the movie business, with three films scheduled to come out every year until 2020. Each one is expected to be a surefire hit due to a devoted, widespread following, including the newest addition to Thor’s solo ventures. Marvel films have a generally positive track record but despite every film being a box office hit, there are flaws that exist.
Takashi Miike has directed a long list of films ranging from action dramas to comedy musicals. One of his newest films, “Blade of the Immortal,” adds to Miike’s list of violent action dramas as it depicts the gruesome and emotional tale of Manji (Takuya Kimura), an immortal swordsman, and Rin Asano (Hana Sugisaki), a girl who was forced to watch her father’s murder and mother’s rape. She seeks out Manji to help her take revenge on a group of murderous swordsmen. Takashi Miike has succeeded before and succeeds again at creating a blend between a pure fantasy samurai film and an intense, emotional and realistic story.
The Vatican II era of the Roman Catholic Church in the 1960s was a watershed moment for the faith. It marked the transition from the archaic -- but time-honored -- traditions of the church to more accepting, liberal policies under Pope John XIII. In “Novitiate,” writer and director Margaret Betts explores how these changes impact a group of young women who decide to devote their lives to God, as well as a veteran of the faith who feels as though the church is leaving her behind.
Directed by Todd Haynes and based on the book by Brian Selznick, “Wonderstruck” tells the stories of two deaf children as they go on separate adventures in different time periods to search for something missing in their familial lives. Unfortunately, both tales aren’t all that compelling to begin with and the film has a tendency to meander, unable to balance the full complexities of both characters.
After filmmaker Rory Kennedy screened her new documentary, “Take Every Wave” about the life of big wave surfer Laird Hamilton, in New York recently, a man approached her and said he’d finally go into the ocean, even though he was terrified of the water and had never been in it before. “So, for him, that’s his wave,” Kennedy said.
Imagine a major terrorist attack happening on the day of your final dress rehearsal, for the first production of the season at one of your theaters, the Bastille Opera. Do you go on with the show? How do you address the situation? How can you push aside your grief and tell a story? Stéphane Lissner, the director of L’Opera National de Paris, decided that the final dress for the ballet “La Báyadere” would go on despite the Charlie Hebdo terrorist attacks that occurred that morning, and addressed the audience with class at the curtain call, asking for a moment of silence.
Explosions. Blood. Pain. For many of those serving in the military, war leaves scars that aren’t visible to the naked eye. Director Jason Hall’s “Thank You for Your Service” documents these scars through the emotional story of three soldiers after their service in Iraq. Miles Teller portrays Adam Schumann, one of the soldiers who struggles to reconnect with his family alongside his fight with post-traumatic stress disorder. The film gives audiences a glimpse into the daily lives of military veterans, starting the conversation that the war doesn't end when they come come.
Jason Hall’s directorial debut, “Thank You for Your Service,” allows audience members to experience trauma alongside a strong cast that successfully portrays the impact of post-traumatic stress disorder. Nonetheless, a rushed resolution makes the story feel incomplete.
American cinema has a long tradition of taking the quiet suburban utopia and portraying it as a living hell for its inhabitants. It can be seen across all genres, from the drama “American Beauty,” where a father is tormented by his failing marriage and his lust for his teenage daughter's best friend, to the horror film “A Nightmare on Elm Street,” where the seemingly mundane lives of a group of friends are turned into a literal -- you guessed it -- nightmare.
Yorgos Lanthimos is one of the most adventurous directors working today, consistently making films that are willing to unsettle an audience -- most recently “The Lobster,” an expectedly twisted but unexpectedly romantic take on modern love.
Antonio Santini and Dan Sickles have created a sweet and interesting look into the relationship of Dina and Scott, a couple who are both afflicted with Asperger’s syndrome. The camera disappears behind the couple’s daily interactions with each other and the world around them as the documentary follows their relationship from the day that they move in together to their marriage and ends with them returning from their honeymoon. The camera is almost too good, constantly being one step ahead of the couple to the point that the filmmakers may have pushed the couple to act a certain way or move to a specific location. But, tears, laughter and the interesting story take hold of the audience as more of the story unfolds and a dark history is revealed to contrast the kindness and romance of the couple.
Tyler Perry first introduced Madea in 1999 during the Atlanta screening of “I Can Do Bad All by Myself.” It wasn’t his initial decision to play the character but after an actress fell through, he had to step in because the show must go on. Tyler Perry’s Boo 2! A Madea Halloween is the 14th studio movie where Perry worked as a director, producer, writer and actor. The original film, “Boo! A Madea Halloween,” recieved mixed reviews from critics and has a 21% on Rotten Tomatoes. The comedy-horror sequel is on track to be a major hit for Halloween season with over 100 minutes of comedic genius coming from three characters all played by Perry himself.