There is a key scene in “Darkest Hour” that will either make or break the film for viewers.
There’s something paradoxical about a 21st century film musical and even more so about “The Greatest Showman,” which is not the best or worst representation of what musicals are in 2017.
“All the Money in the World,” the recent Ridley Scott drama, is perhaps the darkest film I’ve seen from 2017.
I went into “Molly’s Game” knowing much nothing about it beyond the fact that it was written by directed by Aaron Sorkin, in his directorial debut, and that it starred Jessica Chastain and Idris Elba.
“Jumanji: Welcome to the Jungle” bills itself as a standalone sequel, a descriptor that seems immediately counterintuitive though it is immediately intrinsic to 21st century blockbusters.
“Patti Cake$,” a 2017 film about an overweight white woman’s quest to become a rap star in the slums of New Jersey has garnered immediate comparisons to “Hustle & Flow” and “8 Mile”.
Last week’s column on “A Ghost Story” had me thinking about representations of loneliness on screen.
Who invented the bedsheet ghost? The image of a ghost marked by donning a white sheet with holes for eyes is a classic and familiar concept.
“Mudbound” is a film that will be sold on its relevance. Its socio-political significance.
“Beach Rats,” the winner of the best director award at this year’s Sundance film festival, is a filmic bildungsroman.
I made the potentially problematic decision, to screen Sidney Lumet’s 1974 adaptation of “Murder on the Orient Express” a few days after watching the recent 2017 Kenneth Branagh directed version.
Terence Davies has never met an opportunity for a tableau vivant he did not like.
“The Past” opens at an airport. We watch a reunion between two people.
“The Mountain Between Us” is a film that ends up just where you expect it to.
I have often had the argument with myself, and with others, about what should be expected from purported film “genres.” I say purported because two of the most problematic “genres” for me are the musical and the animated film.
There’s a scene in Jane Campion’s “Bright Star” that I use very often when discussing art and our relationship with it.
At the end of the month, there will be a television anniversary that may not be significant to many.
Earlier this month when Donald Glover won the Emmy Award for Best Actor in a Comedy Series (his second that night), he quipped, “I want to thank Trump for making black people number one on the most oppressed list.
“Who drew the dicks?” This is the narrative hook on which Netflix’s new mockumentary comedy “American Vandal” rests.
Visual-media of the eighties seems to have a stranglehold on coming-of-age pre-teen films, don’t they?
The romantic comedy “The Big Sick” did not open in cinemas in Guyana, which seemed particularly odd.
Early on in Perry Henzell’s “The Harder They Come,” the film establishes itself as firmly aware of the cultural and cinematic context from which it emerges.
The new film “Atomic Blonde” is a hyperaware, pop-version of the excellent 2011 adaptation of the John le Carré Cold War spy novel “Tinker Tailor Soldier Spy.” For history and philosophy enthusiasts, the Cold War, with its dependence on subterfuge and paranoia, is a historical key to understanding the dubiousness of modern political affairs.
The very last moment we see the main characters in “Girls Trip” has been playing on a loop in my brain since I saw it.
In mid-July, HBO released a brief press release about “Confederate,” an upcoming show from David Benioff and D.B.
I left “Dunkirk” with the word “liminality” on the tip of my tongue.
I kept experiencing a kind of cognitive dissonance while watching War for the Planet of the Apes, the last film in the rebooted trilogy.
Sofia Coppola’s new film, The Beguiled, begins like a fairy tale. The intertitle, pink and evocative, announce the time as three years into the American Civil War, we are in Virginia.
From its opening, Spider-Man: Home-coming announces that it places emphasis on youth. Its first shot is a crayon drawing of The Avengers.
I remember reading Roger Ebert’s review of Midnight Cowboy for a class on American film.
Today marks the beginning of the second half of the year. 2017 has been a chaotic year in political and cultural terms but the arts continue to trudge on, offering a wealth of material to examine in these turbulent times.
This past week the Star Wars franchise was in some brief trouble. Phil Lord and Chris Miller, the directors of the yet to be titled Han Solo film, were abruptly fired from the project with a few weeks of shooting left.
Few words are spoken in Adero, the new short film from Guyanese filmmaker Kojo McPherson.
Wonder. Noun. A feeling of surprise and admiration that you have when you see or experience something beautiful, unusual, or unexpected.
The main dramatic trope which Everything Everything plays on dates back at least to 1848.
With underwhelming new releases on offer this week, I opted to veto a review in favour of examining something more intriguing–the cinema experience itself.
The Humanities, at its best, teaches us to think and to consider the act of creativity.
Norma Rae is a 1979 film about a textile mill factory worker who joins a union to challenge her employers after her workplace compromises the health of co-workers and herself.
Director James Gray’s The Lost City of Z is a languorous, pensive film that immediately sticks out amongst the releases showing in cinemas right now.
Going in Style boasts the Oscar winning résumés of its stars Alan Arkin, Michael Caine and Morgan Freeman.
Remember when Hollywood was obsessed with the Holy Bible? Probably not. If there’s one myth that has persisted over the last few decades of popular cinema, it is the claim that Hollywood hates religious films.
By Andrew Kendall Last month, Scarlett Johansson hosted Saturday Night Live for the fifth time.