There’s real meat to chew on in this fleshed-out “Lion” (directed by Jon Favreau, who also helmed “The Jungle Book”). Some of that was always there, but it’s been thrown into sharp relief here by a visual style that’s closer to a Disneynature documentary – one that’s a little more red in tooth and claw than usual.
“When you are looking at a character, you are looking to empathize and not necessarily sympathize and I think in that sense you are looking with Scar at someone who is envious but he’s also corrupted by this idea of power and status – and many of us are,” Ejiofor says. “He takes it to a very exaggerated place.”
Was there a time, not long ago, when a smoothly operating hypocrite of a movie such as “The Fall of the American Empire” might’ve stolen the hearts of art-house audiences worldwide, even – or especially – in America? You don’t have to look this far back, but the commercial American cinema of the 1970s in particular couldn’t get enough of caper and heist movies steeped in post-Watergate institutional loathing, paying lip service to social injustice while treating everyone pretty shabbily (“Fun with Dick and Jane,” et al.). Not a lot has changed. We love to imagine tremendous wealth obtained the easy way. We relish the narrative payback of seeing rich weasels get theirs, now more than ever, probably.
Much of the film’s pleasure is in hearing Morrison speak – about racism (“If you can only be tall if someone is on their knees, then you have a problem”), about controlling the characters she creates in her books (one particularly troublesome one was told to “shut up. This is my book, not yours”), about the everyday effort of writing (“Sometimes you’re nudged, and sometimes you’re just searching”).
The Art of Self-Defense,” a black comedy about a milquetoast accountant (Jesse Eisenberg) who, after a mugging, signs up for karate lessons from a charismatic, hyper-macho nut-job (Alessandro Nivola), is meant to hold up its portrayal of toxic masculinity to ridicule. But at times, the movie struggles to maintain the critical balance between detachment from and engagement with the thing it’s making fun of.
“Indian Horse,” the second feature by “Momentum” director Stephen S. Campanelli is a heart-rending tale of passion and survival.
For all their individual charms, Kumail Nanjiani and Dave Bautista lack screen chemistry in this loud, pointless and unfunny “comedy.”
With Marvel Studios and Sony cruising along and sharing Spider-Man in the Marvel Cinematic Universe; more sequels with star Tom Holland likely, and the animated, Oscar-winning “Spider-Verse” just getting started, this list is likely to change again soon.
“The Last Black Man in San Francisco,” an extraordinary debut from best friends and collaborators Jimmie Fails and Joe Talbot, obeys the intuitive rhythms of a reverie, leading viewers on a graceful journey through the collective memory of a city and the deeply personal aspirations of one of its dispossessed.
The hook for the documentary “Echo in the Canyon” is a 2015 tribute concert featuring Jakob Dylan of The Wallflowers, who conducts the on-camera interviews here with more self-conscious cool than easy insight.
This is a journey about Peter surrendering to his destiny, leaning in to what it means to be a “superhero” in the wake of the Avengers. If “Into the Spider-Verse” explored all the different ways to be Spider-Man, “Far From Home” dives into the heart of what it means to be hero, a responsibility that isn’t always easy. Good thing Spidey is one of the best.
“Toy Story 4” hung onto the top spot in its second week in theaters and the horror sequel “Annabelle Comes Home” opened in line with expectations, but the Cinderella story of the weekend was actually the third place movie: “Yesterday.”
British actor Idris Elba confirms in a Vanity Fair cover article that he will not be the next James Bond
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The songs? Great, of course. The story? Strange at best. The characters and aesthetic? Aces. Everyone on screen is just so likable (even Kate McKinnon, playing the villain), especially the earnest, open Himesh Patel, in a star-making heartthrob turn featuring his crystal-clear singing voice.
The Library of Congress recently added the animated Disney classic to the National Film Registry.
In a summer glutted with tiresome sequels, the team at Pixar more than makes the argument for another “Toy Story” by combining the beloved characters and tone of the original trilogy with fresh comedic elements and new additions to the toy crew.
Talky, sophisticated and self-consciously erudite, this slice of French literary life is in many ways familiar.
Who would have guessed that a “Child’s Play” film would leave us with less popcorn-rattling jump scares and more existential questions about the role of Alexa in our lives?
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