With the arrival of Disney+, my family and I have been binging Marvel’s Infinity Saga films, beginning with Iron Man and culminating in last year’s mega-blockbuster Avengers: Endgame. I only saw it once in the theater and while I immediately formed a positive opinion of the capstone movie (up to this point) of the Marvel Cinematic Universe, I typically try to reserve final judgement of a film until I have watched it at least twice.
This movie is not as bad as you may have heard. It is much, much worse. This is the kind of movie that a fourteen-year-old, who thinks they’re “edgy” after just discovering Nine Inch Nails and Richard Dawkins, would make in stop-motion with their old action figures. “Batman v Superman: Dawn of Justice” was supposed to be the movie that launched D.C. Comics’ own competitor to Marvel’s Avengers juggernaut. And while I’ve had a few
I watched this movie, first and foremost, because I promised the filmmakers on Twitter that I would, back when they were trying to get it greenlit. (Never let it be said that I don’t put my social media slacktivism into practice!) Clearly, an R-rated superhero black comedy was a hard sell to the studio–and indeed, Deadpool isn’t exactly a member of Marvel’s A-list squad. While “Deadpool” exists within the same satirical tradition that gave viewers
For many today, the observation that “football causes concussions” is such an intuitive proposition that it borders on the redundant. The precise link between professional football and severe neurological damage, however, hadn’t been identified until recently – via a controversial series of events that sparked multimillion-dollar litigation. Inspired by an outstanding GQ article, “Concussion” recounts the story of Dr. Bennet Omalu’s discovery of chronic traumatic encephalopathy (CTE), an neurodegenerative condition found in NFL players as
Journalists – particularly those covering highly sensitive events – are often the targets of well-deserved critique (consider, for instance, the grotesque spectacle of the past week that witnessed live news crews rooting through the apartment of deceased mass shooters). Yet often it is journalists who do the legwork required to properly expose hidden evil to public scrutiny, igniting the sparks of major change. “Spotlight” is the story of one such exposure: namely, the revelation that
“Spectre” is a frustrating film to review: in its attempt to provide a resolution to the last several films, it has one hand in the best of modern James Bond (“Casino Royale,” “Skyfall”) and one in the worst (“Quantum of Solace”). Here, Bond (Daniel Craig) continues his journey into the modern era: MI6 is planning to launch a giant global surveillance program, while villainous organization Spectre (headed by an enigmatic figure allegedly from Bond’s past)
“Yeah, what kind of monster would allow a German scientist to experiment on him to protect his country?” “We’re not at war.” “They are.” And with one short exchange, Age of Ultron immediately signaled something new and powerful; at least in this one instance, the enemy is a friend. Quicksilver and Scarlet Witch are the Captain America of another nation, a nation just as valuable as our own, a nation filled with loves, hates, fears,
The latest confoundingly creative masterpiece from veteran Pixar director Pete Docter (“Up”) is a magnificent achievement. It’s by far the best film Pixar has made since “Toy Story 3”: for the sheer scope of its vision and the genius of its execution, “Inside Out” is unmatched in Pixar’s pantheon. Ostensibly centered on 11-year-old girl Riley Anderson’s psychological turmoil after moving from Minnesota to San Francisco, “Inside Out” emphasizes the reciprocal relationships between her anthropomorphized emotions.
You can keep your “Avengers” sequels: aside from the forthcoming “Star Wars” reboot, this was far-and-away my most anticipated film of the year. (For reference, I watch the original “Jurassic Park” at least twice a year and saw it in 3D during the 20th anniversary rerelease). That said, it is a truth universally acknowledged that “The Lost World” was a bit of a letdown and that “Jurassic Park III” was an outright debacle. So does
Artificial intelligence is clearly the menace of the cinematic hour. The old menace posed by the Skynet of the “Terminator” franchise has taken on additional credibility in the era of “big data,” which offers the possibility of algorithmic analysis on a heretofore undreamt-of scale. Alex Garland’s recent thriller “Ex Machina,” however, trades guns for words and explosions for psychological turbulence, raising fundamental questions within a deeply intimate context. “Ex Machina” opens as Caleb Smith (Domhnall
When I was eighteen years old I purchased the film Waking Life, by director Richard Linklater. Its premise, plot, and production epitomize our postmodern moment. Linklater develops a story about dreams within dreams, in which a character travels seamlessly through surreal worlds while witnessing a plethora of philosophical conversations about life and death. The tagline reads, “Are we sleepwalking through our waking state, or wake-walking through our dreams?” Utilizing stunning visual effects,1 a haunting score,
“ ‘If only I could find his Achilles’ heel, the soft, quivering underbelly beneath all that armor.’ ‘His daughters?’ ‘Wait, why didn’t we think of that before? His youngest. The one with the beautiful voice – which she takes for granted. A woman never knows how precious her voice is until she’s been silenced.’ ” The Little Mermaid is my favorite Disney movie. The music . . . the ocean . . . Prince Eric
As “big, dumb movies” go, the last few “Fast and Furious” films are some of the best – they’re solidly character-driven, and generally pack an emotional heft beyond your average superhero flick. “Furious 7” is no exception: it’s a briskly paced, action-drenched adventure that hits a new high point for the franchise. In a nutshell, the “Fast and Furious” series centers on Dom Toretto (Vin Diesel), Brian O’Conner (Paul Walker), and their team of exceptionally
The trailers for “Jupiter Ascending” were works of art. I’ve seen a lot of movie promos, but few have grabbed my attention like the artfully composed teasers for Andy and Lana Wachowski’s latest high-dollar project. Despite disappointing reviews, I figured I’d give it a shot – after all, it looked like a nice distraction in the midst of art-movie season (and bitter New England wintertime). Simply put, “Jupiter Ascending” is a hot mess of a