Cast: Julianne Nicholson, Zoe Ziegler, Will Patton, Elias Koates, Sophie Okonedo, Mary Shultz, Edie Moon Kearns
In rural Western Massachusetts, 11-year-old Lacy spends the summer of 1991 at home, enthralled by her own imagination and the attention of her mother, Janet. As the months pass, three visitors enter their orbit, all captivated by Janet.
This film is a character study between a mother and her 12-year-old daughter. A coming of age story for both of them.
One truly wants to enjoy the film as it takes objectivity to a certain level. Where we watch and wait. Yet little actually happens.
The film seems to take place with the status and longevity of the mother’s relationships with different partners. These are usually romantic, though, never quite shown to be that way, nor do we see the more physical sides of these relationships, though they seem not to take their toll, but have some kind of meaning.
Her mother comes across as not needing anyone but desperate for any outside relationship due to them, living in a more rural community and also seeking to have the company of another adult rather than just her young daughter. She seems to have an attachment to her mother and doesn’t truly desire too many relationships, friendships, or connections with too many others, which is already rare for her.
This film won’t be for everyone as it takes its time and is very detail-oriented. As bass and day-to-day life. Not necessarily its trivialities, but its blandness. As it also seems to find beauty in every day.
This seems to be the writer and director, Annie Baker’s interest and expertise as her plays are constructed in the same way. So that some will get into and admire it while finding meaning and others might find it a bit, dull and drowsy
However, in the end, it shows more of a daughter’s love for her mother than the other way around what we usually see in films like these.
It feels like a down-home, laid-back movie, that more exists on vibes and as a character study rather than plot. In the ’90s and 2000s would probably have won the Sundance Film Festival.
It never feels like it quite gets started and by the end though you have traveled with these characters. You might still be wondering what happened exactly.
Based on characters created by: Bob Kane, Bill Finger, Jerry Robinson, Paul Dini, and Bruce Timm
Cinematography: Lawrence Sher
Editor: Jeff Groth
Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Leigh Gill, Harry Lawtey, Ken Leung, Bill Smitrovich
Arthur Fleck, now incarcerated at Arkham State Hospital, who encounters Harleen Quinzel, a fellow patient who becomes dangerously obsessed with his Joker persona. Their shared psychosis fuels a destructive and increasingly chaotic relationship, blurring the lines between reality and fantasy. The film delves deeper into Arthur’s mental state, exploring the complexities of his condition and the enduring power of his iconic villainous persona.
This is more a free-expression sequel than a typical continuation.
One Refuses to rate it as it doesn’t work as a sequel. People who match it will view it differently as expected and wanted. It seems to be less about commerce here and more of a message and commentary on useless unnecessary sequels.
The story and discussions built up by the first film come off as meaningless. As the continuing story of the main character. Ends up being an imposter or that of a wannabe. Whose story while eventful has no true reasoning or purpose.
While having a singing superstar as his co-star, Joaquin Phoenix showed no talent or aptitude for singing. Though helps show the delusional message of ourselves singing to ourselves it is more about the emotion, mood, and lyrics an expression than talent. Thought for others it is more about wanting to experience it all including image and talent.
While also leaving Phoenix a reason to return to a character and make him more of an interest to the actor. Though like slipping on yesterday’s worn clothes. A return with comfort but wanting to change or move on. Despite winning an Oscar for his first portrayal and for an actor who wants to be more of a chameleon it feels like a trap or curse only coming back for the check and making it fun for themselves. Making a mockery of all the hoopla and the Hollywood system in general.
A rebellious act when a studio forces a filmmaker to make a sequel never quite designed and what they do with it. An artistic enterprise but also a center move to insult not only the powers that be but in true punk rock fashion even the audience. Encouraging them to think for themselves and find meaning in what was worth it not necessarily what they are given. Don’t let them force-feed you what is not good for you, but fans spending money on these Hollywood films looking for an escape sided against it as it was their anti-hero who they cared about doing to them what he was doing to the establishment.
Just as when the public sides with Jones and disrupters as clowns like Tom Green in the past and all was fun when laughing with them but when the joke is on you. not as happy and truly see how the others felt. The power is held by the comedian who feeds off of reaction.
If anything this is more dour and dull. It also seems like Todd Phillips is going for a vision and not be accused of copying another film or filmmaker like he was with the first Joker film oddly similar to the films of Martin Scorsese TAXI DRIVER and KING OF COMEDY in particular
Even though most of the musical scenes are borrowed from other classic musicals and sung in full. Though with no artistic flair or dancers no flash. Though the of my friends who can see me now are at least notable for trying
As is said in the film. The people care about the Joker, not Arthur Fleck. This film Seems to be more about Arthur Fleck and that pissed the audience and studio off.
So Some might argue this is a character piece that explores his fractured embracing and obsession with musicals and things played out in the same way. As well as getting to play and have commentary on pop culture and the simulators of what he is going through as well as the situations he finds himself in.
Not adding any flash to the mundane most of the time. Disillusionment and only a minor character if any to the Gotham City residents. As he is more a means to an end of inspiration than into the more fantasy-based realities. It plays more like a courtroom drama with some Personal insights from the characters
Not living up to other’s expectations your berries never quite being who you are sorry for them
To be your ideals and be the mascot or symbol for others’ actions and emotions when it really has nothing to really to do with them or what they believe so they become More A symbol. Waking up to reality over fantasy
A story ultimately about being used as a representation for something you have no connection truly with and being dumped when you Don’t Live up to others’ ideals. Which seems to be the exact reaction to this film. As well as a perfect ending to this particular franchise making sure there will be no follow-up.
Idolization and the origin story or dramatizing similar events to some known Characters. As far as this movie gets into the official DC universe. It comes off as one of the more interesting side stories you might see on BATMAN: THE ANIMATED SERIES. Only
Of course, mroe adult-themed here.
Can give Todd Phillips credit as this is one of his more original and nuanced films that he has made where he goes over the line and still doesn’t feel like too much, but an all-over-the-place portrait.
Written By: Jacques Audiard, Thomas Bidegain, Lea Mysius and Nicole Livecchi
Based on the novel “ECOUTE” By: Boris Razon
Cinematography: Paul Guilhaume
Editor: Juliette Welfing
Cast: Zoe Saldana, Karla Sofia Gascon, Selena Gomez, Adriana Paz, Edgar Ramirez, Mark Ivanir, Eduardo Aladro, Emilio Edmundo Hasan Jalil
follows four remarkable women in Mexico, each pursuing their own happiness. Cartel leader Emilia enlists Rita, an unappreciated lawyer, to help fake her death so that she can finally live authentically as her true self.
One of the joys of listening to the soundtrack of a musical early (even before you see the production) Is seeing where the song will be used in the film And presented. Brought to life, visualized, and performed. See where they place It.
Not necessarily advisable, as you might want to experience a first as you watch the film. Which can be a more magical experience.
There is a lot to admire here visually. Jaques Jacques Audiard is a world-class director and makes everything dazzle here. Though it feels a bit empty, as for all the arresting nature of the film’s production. In the end, it feels like it lacks heart. Making it ultimately feel like a shallow exercise.
As the spectacle and mood take over. Even though most musicals seem to be about the numbers the story is there to link them all together and usually suffers in believability. Here is the story which could be interesting. It doesn’t naturally mix with the musical numbers and as this film tries to be so many things at once. It comes across as quite confusing. As it is roasted in stages or at least that is the best way to consume it.
This feels like another director trying to invade or emulate another director’s style. This film feels more like a Pedro Almodovar film. Who would know how to connect and meld everything together better as it would be more his style and territory in theory?
It’s a spectacle That is at times political then goes back to age-old melodrama at its heart. Yes, An artistic achievement. Through It seems to be more about style. Yet, it is a crime story that the director is known for
Selena Gomez is one of the biggest names appearing in the film. Giving the film some star power next to Zoe Saldana and she is given the least to do. She does have at least two songs of her own to sing and perform. Most of her scenes involve her either crying or screaming. It seems she is here for some artistic cred for herself and to help the box office for the filmmakers.
It’s like going full special needs. It’s devotion to calling attention to itself with genres that Don’t naturally blend. Not to mention it gives us a Trans Character but gives her little depth, nor explores her experiences or being in this new world in a different body. It gets about as deep with her as Caitlin Jenner does with other trans people in life. There is something to say about identity, but the film barely explores it.
Zoe Saldana is the only one who manages to make it through the film unscathed. She gives a strong performance does everything the film and filmmakers ask of her And maintains a glow throughout.
Maybe the fact that it has four screenwriters is the problem. Each one brings their talents, and ideas that seem to work with one another but become quite different as the film goes along.
Cast: Therese Liotard, Valerie Mairesse, Robert Dadies, Ali Rafie, Gisele Halimi, Nicole Clement
The intertwined lives of two women in 1970s France, set against the progress of the women’s movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker – despite the contrast they remain friends and share in the various dramas of each others’ lives, in the process affirming their different female identities.
This is the third film by Agnes Varda that I have seen and wasn’t a plan. Though thankful that I have seen her work. as none of her films were ever at the top of my list to watch, but I am glad to have seen each of them by the end. I am impressed by how they make the audience feel.
This one is pretty epic as it feels like a film on which the Bette Midler-Barbara Hershey movie Beaches might’ve been based as this film observes the friendship between two women over 10 years. From their introduction to one another in their 20s, they reach a certain point of maturity.
The difference is that this film is not only about femininity but also and large part about women’s rights, especially when it comes to their bodies and abortion as that act which was illegal Only a few years before this film was made in Paris, which is the way the friendship starts.
We see both characters through their, many romances and trials and tribulations. as well as they’re changing attitudes and interests.
While they have mini adventures, the film does feel epic, even if it seems to stray only in a few places.
Watching the film, it has come along at the right time as its issues are now coming under threat here in the United States, which makes it feel more relevant than ever. Especially Agnes Varda had to admit that she had one as a sign of protest and rebellion was very brave of her. Showing support and solidarity.
This film shows the future that existed because of this act, not because it was an inconvenience. There’s a film that shows the many hardships that the friends go through, but also their endurance, their happiness, and a kind of joy that is rare, and threw it all their friendship, survives and strives, even though they’re not together all the time they encourage each other and inform one another.
Though more common at the time it just reminds the viewer of how few modern films, explore the depth, nature, and strength of friendships.
Not to mention as the title goes, it does have quite a few music sequences, not musical sequences as some are show sing, intentional stage productions, and other scenes just involve the character singing at a protest or showing off the writing of a new song.
It’s a bit long, but after a while, you barely notice as it goes by so fast that it feels more like a book as it hasn’t enriched quality, time, life, and hope.
The film manages to be political and heavy-handed on one end, but an effective character piece. Where you are enchanted by the characters and their actions as well as their fates
Written By: Eric Champnella, Alex Harris And John Hindman
Based On The Book: Anthony Robles and Austin Murphy
Cinematography: Salvatore Tontino
Editor: Brett M. Reed
Cast: Jharrel Jerome, Jennifer Lopez, Don Cheadle, Michael Pena, Bobby Cannavale, Mykelti Williamson, Neon Perez, Johnni Di Julius, Peter Sack
This film seems to be mostly painted by numbers of a biofilm of a disabled athlete who overcame his affliction or didn’t let it define him to go after what he really wanted, which was to be a wrestler, not only achieve it but excel at it as it helps to give him discipline and definition not only physically and spiritually but emotionally
Jharrel Jerome is excellent as lead, proving himself not only a great actor but deserving a better though he can play what is required in most leading man roles he’s got the luxe. He’s got the charisma. He’s got the talent. He just needs more chances.
what might draw more attention to this film is that Jennifer Lopez plays a major role in the film as his mother always believes in him and supports him as much as he supports her. This is her more taking a supporting role and she’s good in her role as a woman who is in an abusive relationship with most of her kid’s fathers who have a checkered past, but also undoubtedly loves her kids
Don’t know if Jennifer Lopez chose this role to be seen as a serious actress or is or these are the roles that she is being offered more as she gets older and her brand isn’t as strong as it was this is one of her better roles since being in HUSTLERS. Though anytime she is not glammed up it seems to be she is in serious actress mode and made more noteworthy.
Also, Bobby Cannavale is among the recognizable cast in this film, portraying his usual whole type character or villain, really a bully really the only one that the main character truly faces other than the third opponent, who is more arrival than an actual bully
Don Cheadle has a supporting role as the boy’s college coach and while a thankless role he makes the best of it
If you are into sports dramas or bio-films or just goodhearted movies, I think you will enjoy this film for me, is formulaic, but keeps the attention
Cast: Brandy Norwood, Kathryn Hunter, Neal Huff, Andrew Burnap, Mary Testa, Kerry Flanagan
It tells the story of a newly pregnant couple who are forced to take in an ailing, estranged stepmother.
I don’t know exactly the plan behind this film as the only thing it truly does successfully is make itself look like it’s going to be something more of a horror film or a supernatural film. However, it ends up becoming more psychological than expected.
The problem is that there seems to be no plan by the villain as to what this is all for or if it is even worth it. Though Kathryn Hunter playing the old woman Solange is the only truly noteworthy part of the film. Not to mention the only truly wonderful performance. One only wishes the movie matched her performance.
For the most part, the movie is dull where the characters are stuck between a rock and a hard place and wonder why they burden themselves. Even though it’s more Brandy versus the old lady as her husband who knows how much trouble the old lady can be is at work and mainly absent.
So the move is a battle of wills between two women trying to become head of the household even though one is almost off to the pastures already. So while it may remind you of the movie HUSH with Gwyneth Paltrow and Jessica Lange or MOTHER’S BOYS with Jamie Lee Curtis only with an added hacksploitation angle.
At first thought this film would be a good guilty pleasure that you can have fun with like the movie MA with Octavia Spencer, but while there are shades at times of that type of film. This one takes itself more seriously and instead of violence. Seems to disgust the audience with feces and other body fluids.
You also wonder don’t these people have friends or other family who could help them in any way, shape, or form?
One understands the subversive turn in the story though it still remains with the audience asking why any of this happens. What is it all about? By the end, you might be wondering why did you just sit through all of this? Was it supposed to be a starring comeback for star Brandy even though it gives her no scenes to shine?
Cast: Laya Deleon Hayes, Denzel Whitaker, Chad L. Coleman, Reilly Brooke Stith, Keith Holliday, Amani Summer, Eden Atsu-Swanzy, Ellis Hobbs IV
Vicaria’s a brilliant teenager. After the brutal murder of her brother, she embarks on a dangerous journey to resurrect him.
This is a film I have mixed feelings about. Though I always do when it comes to African Americans in horror. As I love the representation bit it also feels like reinforcing stories and stereotypes of the type of characters and media. They are always caught up in and now add supernatural elements and undead slashers
This is a film that fights against itself in certain ways. It feels like more trauma-inducing horror for characters and a community that has seen enough horrors in life and on-screen in media. This only adds to it
The redeeming qualities it does have a kind of happy Ending and showcasing microaggressions and intelligence as well as a bit of black history is commendable but it does run into certain stereotypes.
By the end what should be a cautionary tale feels like a twisted one where the main character is justified in her actions.
As we watch, we pretty much know what’s going to happen as it goes along as we’ve seen this tale before it just offers different elements and motivations throughout.
It softens the blow, making the main character, a genius teenager, seem not to know any better. so that we can’t get totally mad at her or want her to get somewhat of a come-up as her intentions were pure and not as dastardly. Though for all of her intelligence how she didn’t see this coming, also exposes her naivety.
It offers a story that is definitely coming of age as it shows and revolves around, mostly kids to a certain degree or forced to grow up way too fast as they have to become aware of the danger that is constantly around them and how to maneuver and deal with it in their own ways.
The film offers to have to go through such hardships and pain to finally find a certain piece or get their own happy ending. A more McCobb ambling tale that takes place in a tougher neighborhood with harder upbringings, but does offer an adventure.
Luckily, the film does not get bogged down, and being some kind of revenge thriller it offers up some ideas but still unfortunately comes across as pretty basic at times.
Cast: Sope Dirisu, Wummi Mosaku, Matt Smith, Javier Botet, Maraika Wakoli-Abigaba, Yvonne Campbell, Vivienne Soan, Lola May
A refugee couple makes a harrowing escape from war-torn South Sudan, but then they struggle to adjust to their new life in an English town that has an evil lurking beneath the surface.
This film is a revelation. It manages to mix culture, history, scares, mood, and atmosphere all into the mix and comes across as a haunting drama and horror film.
it doesn’t have a typical horror take of a slasher but feels a bit more full in a story in characters and offers us a ghost story though more of a haunting. Where guilt is what has the strength to make matters worse. That doesn’t offer a simple answer though, and gives a way too easy way of an ending.
It goes into the immigrant experience as well as the guilt of leaving a homeland for another and never quite getting away from or forgetting the ghosts of your pasts.
The characters are haunted by their decisions and how far they are willing to go to get rid of them. Before they let them literally kill them.
This is the beginning of the renaissance of actor Sope Dirisu after this he continues to be on a roll in the roles he plays always powerful, emotional, and believable with a certain sense of style.
However, that is not to discount Wummi Mosaku performance here as she matches him especially emotionally. They are perfect duet partners throughout as a married couple. Where no matter what each is going through you believe them together and the love and care they have for one another.
This is writer/director Reemi Weekes debut film and already shows a wealth of talent and skill. This film shows that he knows what he is doing and is in full control of his powers when presenting the story he wants to tell.
The film is filled with unforgettable images and scary scenes and stays quite inventive, especially with its Locations. It digs into being strangers in a strange land and that alienation. Even though what should bind you to others seems to repel.
People of color in particular African Americans go through so much in life. Not a fan of seeing them suffering. As it feels like another hardship left to endure onscreen. Here the film manages to tie in that experience. Heightening it makes it more understandable for the audience and others who have never had to go through it.
Cast: Anton Walbrook, Simone Signoret, Serge Reggiani, Simone Simon, Daniel Gelin, Danielle Darrieux, Fernard Gravey, Odette Joyeux
Soldiers, chambermaids, poets, prostitutes, aristocrats are on equal footing in this multi-character merry-go-round of love and infidelity.
This is an excellent experimental film. When film was still finding itself and what it could be with such a wide net of imagination
This film Feels like one of those Gary Marshall films Mother’s Day, Valentine’s Day anthology where the characters are linked together with a similar theme. LOVE ACTUALLY or the movies of Robert Altman. This is essentially a film about love, and in an ensemble where each character leads to the Max one and there’s a narrator. I guess you could believe it as a sort of Cupid.
The difference between this and the films is of course time and that this is actually artistic, and as I don’t know any of the stars of this film, you knew what to expect with the Gary Marshall cast
this is the film that you should only watch if you want to see something romantic and a love story and the many different ways, and which characters connect and find one another and almost feels like a book of short stories or at least short scenes as they all lead to another not that they make the best couples work and each one someone who might have been more of the victim and one story is the one in control in the next and vice versa
Like the merry-go-round that constantly comes up. The world spins and the characters move in and out of each other’s lives not the same story but the same subject involving love of some kind.
As the film offers up the ups and downs of relationships and love different meanings of it, different motivations of it, and the different roles some of us play we can all identify with the character in each vignette
At least the film gives its ensemble chances to shine in one way or another.
The film feels experimental, yet magical, especially for its time when it seemed like the rules were still being written when it came to this new invention of film and cinema.
Which is why it kind of feels like a circus as it constantly feels like a show, which might be because this started out as a play or theatrical piece before being made into a film
It’s also an identifiable fairytale that isn’t afraid to go into subject matter that those types of stories usually avoid but still manages to feel like a fantasy of sorts. Where is magic in the storytelling in visuals as well as the presentation?
Cast: Ellie Kemper, Luke Grimes, Nico Santos, Blythe Danner, Julia Shiplett, Ben Cook, Shayvawn Webster, Gus Birney
A year after getting divorced, Helen Carpenter, thirty-two, lets her annoying, ten years younger brother talk her into signing up for a wilderness survival course. It’s supposed to be a chance for her to pull herself together again, but when she discovers that her brother’s even more annoying best friend is also coming on the trip, she can’t imagine how it will be anything other than a disaster.
This has been a trend for Netflix recently releasing romantic movies that seem like they more belong on the hallmark network. That would seem like in the old days the type of TV- movie a network would put all of its show stars into one to win ratings for the night. Not to mention keep their salaries down by making them do the television movie rather than a big screen role that might be a hit and increase their asking price
This film is simple enough and it’s romantic and heartwarming. So that it has its charms and laughs even though you never are in doubt as to where it is going.
Happy to see Ellie Kemper in something. Though there are many things here that just nag you in the audience. The characters other than the roads seem to be one-dimensional they get mroe dimensions by the amount of screen time they have.
Most of the cast are good looking at least the ones who are either the romantic leads or might be distractions for them.
Never quite understand why Kemper’s character would marry a guy who is such an idiot and has no chemistry with him. To set her characters ark and then when it’s obvious who she is supposed to be with they have moderate chemistry but still seem a bit put off.
Despite the film’s many problems and situational humor. It still has a charm. It’s not impressive but it’s a nice enough viewing.
Cut To The Chase 