It is what it is.
You’ve probably seen at least ten best of the decade lists by now and you think, Really? Another one?. Well we knew you’d say that so we thought we’d spice it up a bit. Instead of doing our usual “Best of …” format which usually includes ten to fifteen films ranked based on our individual lists, we are doing individual lists only. We felt that this way, we could present you with a more diverse list of films. We asked fourteen critics, academics and programmers to list their top twenty-films of the decade and write about their #1.But we still wondered if we made a big list, what would be our #1? What film was it that showed up on the list again and again? What film, to us, really captured the essence of this decade? The last ten years have been defined by loss, financial ruin, and anxiety about what world the next generation is going to inherit. But it’s also been a decade where seeds of revolution were planted, and the rise of social movements by people not afraid to fight the powers and systems that have become goliaths. Darkness rises, and light to meet it.
Much Ado About Cinema’s favourite film of the decade is Mad Max: Fury Road. Enjoy and happy new decade! Continue reading “Best Films of the Decade”
Noah Baumbach’s latest feature is a heartbreaking AU in which actress Gena Rowlands divorces her director husband John Cassavetes in order to move to LA and further her film acting career. Kidding, it’s a fluorescent law procedural detailing the absurdly high expenses, both financial and emotional, that unjustly come along with divorce. No, really, it’s a deconstruction of the apocryphal myth that the perfect parent, the perfect marriage, and the perfect career all exist.
Continue reading “‘Marriage Story’ is an Emotional Tempest that Expertly Blurs the Line Between Realism and Camp”
Let’s get this right off the bat: no, Kristen Stewart does not kiss a single girl even though her hair looks like that. It does, however, open with her character Sabina choking a man between her thighs. After that, it veers off the tracks into forgettability, which is especially disappointing because I was rooting for this one. We were all rooting for this one.
Continue reading “Review: ‘Charlie’s Angels’ is Just Fine, but Not Gay Enough!”
People will tell you that Parasite is best if you dive in with no knowledge whatsoever of the story. Respectfully, I disagree. If you’re familiar with Bong Joon-ho’s more mainstream oeuvre such as The Host (2006), Snowpiercer (2013), and Okja (2017), you’d probably expect this to be an action-packed sci-fi flick –– even the title of “Parasite” suggests a gruesome creature feature. Instead, Bong keeps the satirical elements of his previous work while simultaneously ensuring the constantly-shifting-but-mostly dark tone stays consistently grounded, making his latest feature feel more akin to his Korean-language crime-drama Mother (2009) than anything else he’s made before. The one aspect every single one of Bong’s films have in common? An incisive injection of spot-on socio-political commentary. And this is his sharpest yet.
Continue reading “‘Parasite’ is Bong Joon-ho’s Best to Date, Richly Layered with Metaphor and Socio-Political Satire”
For the second time this year, Brad Pitt has delivered a film that shatters audience expectations. Some went into Quentin Tarantino’s Once Upon a Time… in Hollywood expecting a flashy, vengeful bloodbath. Instead, they received a hazy hang-out film, only slightly blood-spattered. Some will go into James Gray’s
BrAd Astra expecting an action-packed cosmic thriller filled with high-speed moon buggy chases and laser blaster fights. Instead, they’ll receive a languid character study centered on Roy McBride (Pitt), a top-level Sad Astra-naut who desperately needs to go to therapy.
Rather, McBride’s superiors opt to send him to space on a deeply emotional mission to make contact with his estranged Dad Astra (Tommy Lee Jones), further destabilizing his already shaky mental state. As they explain to him the possibility of his father’s survival, his entire posture almost imperceptibly changes. His eyes twitch with the effort of repressing his true emotions, and his chest rises and falls with a newfound velocity, indicating that his static pulse that famously never goes above 80 bpm is pounding away underneath the polished layers of his military uniform.
Continue reading “Review: A Star is Re-Born with Brad Pitt’s Stellar Performance in Cosmo-Drama ‘Ad Astra’”
A new Richard Linklater comedy starring Cate Blanchett as an agoraphobic misanthrope architect who runs away to the Arctic to attempt reconnecting with her own creativity sounds like a fantasy. While the end result definitely isn’t a nightmare, it is reminiscent of a listless and languid dream, one that you forget a few moments after you wake up.
Continue reading “Review: “Where’d You Go, Bernadette” is As Scattered As its Protagonist”
David Lynch chose the cryptic curves of Mulholland Drive. Billy Wilder chose the melancholic glamor of Sunset Boulevard. It’s only fitting that Quentin Tarantino opted for the murderous infamy of Cielo Drive.
The secluded road is located in the Hollywood Hills, a land rich with fable fodder. Isolated in their multi-million dollar mansions, movie stars and moguls look down upon the bright lights of the seedy city. In his recent book, Sleeping With Strangers: How the Movies Shaped Desire, film historian David Thompson writes of the Hills, “In those locations people can count their money, worship obscure gods, make love with whomever pleases them, or simple gaze into the mirror, studying loveliness. They call it a city of angels, with reverence.”
Continue reading “Review: “Once Upon a Time In Hollywood” is a Muddled Joyride Through 1969″