Damian Wayne, at his most adorable ever, tries to save Christmas from a classic rouges gallery of Batman villains in order to prove to his father that he’s ready for superhero work. Though aimed at kids and with a definite Saturday morning cartoon tone, this Batman super fan found plenty to enjoy and was left wanting more after a ridiculously fun reference-filled holiday romp.
This adaptation is a pretty solid end-of-the-world mystery thriller with a strong sense of dread throughout that does leave some room for discussion afterward and is a nice way to reflect on society’s current reliance on electronic information flow and the way we typically approach interpersonal relationships, but there is nothing shocking or exceptional enough about this story or its characters to make it stand out as special among its apocalyptic peers.
Delightful and delicious. While Chalamet’s singing isn’t up to par, he still embodies the whimsical nature of the famous candy creator. There’s so much joy and hilarity in this prequel and it feels like a perfect companion piece to Gene Wilder’s original.
Way more drama than comedy, but the satire can be biting, even if it is rendered less effective by perhaps coming too late. Sadly, it’s underwhelming how all of the family issues sub-plots don’t feel like they coalesce strongly with the main story point and take up most of the runtime. A solid film with strong performances but my experience with this overall was just fine – nothing close to revelatory or emotionally stirring.
John Woo returns to American cinema after twenty years with a revenge film that features no dialogue and a surprisingly emotional story. The action is solid, though unspectacular, but the film’s overall balance of melodrama and underdog ass-kicking combined with a fantastic score and sound design makes for a successful reunion between the director and fans.
A lower class Oxford student stumbles into the good graces of a wealthy classmate he adores and eventually spends a summer at his family’s opulent estate. Not all is as it seems, though. At times deliciously campy and twisted, and at others painfully simplistic and melodramatic, the story plays out much how you’ll expect, with provocation after provocation attempting to distract from the obvious lack of substance. Very much a love it or hate it affair by the end, but my goodness is it pretty to look at it regardless.
Disney’s delightful newest fairy tale pits a teenage girl and a friendly wishing star against the controlling ruler of a utopian kingdom. It’s not quite as magical as their best stories, though, and instead finds its biggest strength in valuable social commentary.
Joaquin Phoenix is outstanding, though he exaggerates Napoleon so much at times that the film feels like pure comedy, which can be somewhat tonal whiplash when compared to the brutality of the gorgeously shot large-scale battles. What is blatantly clear is that this is not the movie Ridley Scott intended, as it’s noticeably choppy; but hey, at least we’ll get the full 4-hour experience eventually thanks to Apple TV+.
For a franchise fan like me, it was a joy to spend time in Panem again. Tom Blyth shines in the central role of Coriolanus Snow, providing a simultaneously tragic and infuriating villain origin story. The strength of this prequel remains the amount of details and history about people and events from The Hunger Games series that it fills in and seeing them visualized was very satisfying.
Incredibly thought-provoking, heartbreaking, and at times awkwardly funny, the film takes a look at a taboo/illegal romantic relationship in a sometimes deadpan and campy way. It’s melodramatic like a soap opera and observes the family dynamics of those involved in this strange situation from the POV of an actress preparing for a role in a method, unhealthy style. It’s crazy, but very smart, too!