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An impersonal reimagining of an artistic Hail Mary for the purpose of a box office guarantor, the film is one of those chores that’s somehow both bloated with inanities and empty of vision.
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The 2010s imitate the 1940s, folding the past into the present, achieving an arresting political statement.
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“The Aftermath” largely ignores this difficult world, instead lazily smushing a painfully awkward affair together with shoddy political side-stories. We the audience are left with a frustrating mess that, at its worst, is little more than misguided Hallmark soap.
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And, in typical, fabulous fashion, the third season of “Queer Eye” sees them use this power for good, sticking to the winning formula from past seasons while incorporating a few tear-jerking firsts for the reality series.
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One thing’s certain: Whether or not it’s the year’s best film, it’s sure to be the year’s most daring, sophisticated and terrifying.
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Eschewing typical subjects and traditional form, the second half of the “Documentary Voices” series pulls focus toward works that span time, place and form, weaving together narratives that have often gone unheard and unseen
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“Ash” doesn’t move through time as much as it metabolizes it — taking it in and having its setting rearranged.
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The subtlety in the film is admirable — Gloria’s character development is soft but significant. But the script leaves more to be desired.
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Belated and ballyhooed, “Captain Marvel” sells itself on the promise of a game changer for its franchise and proceeds to bend over backward for a brand-maintenance agenda. A failure of imagination, this textureless piece of plastic is so mechanically structured it’s been made uninhabitable to any artistry or panache.
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Lelio was invigorated by the idea of a new “Gloria.” As he explained in an interview with The Daily Californian, his motivation came primarily from one source: Julianne Moore.
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