Neighbors
SimilarAmélie (2001), Bed and Board (1970),
Bend It Like Beckham (2002) Bring It On (2000), Election (1999), Home Alone 2: Lost in New York (1992), Look Who's Talking (1989), Mary Poppins (1964), Wonder Boys (2000),
Josh Forbes’ uneven horror-comedy goes nowhere after a while, but has fun getting there.
Apartment life means having to give up most expectations of peace and quiet. I’ve had a neighbor who spent most of his days listening to disco music set at eleven on the volume dial, occasionally letting out a joyful “woo!” Another would tunelessly noodle on a keyboard for hours at a time. A third sounded as if he offered Irish step dancing lessons for extra income. Some people talk a good game about not putting up with noise, but most of us just learn to deal with it, usually by grumbling about it and making our own noise to cover it up.
Every now and then, however, a person will just snap, and then you end up with Destroy All Neighbors, a likably silly horror-comedy that compensates for a lack of plot and character development with gory practical effects and a memorable performance by Alex Winter. Continue Reading →
Flora and Son
SimilarAmélie (2001),
Boys Don't Cry (1999) Bugsy Malone (1976), Chicago (2002), Dirty Dancing (1987), Enchanted (2007), Erin Brockovich (2000), Forrest Gump (1994), Gridiron Gang (2006), La Vie en Rose (2007), Mary Poppins (1964), Moulin Rouge! (2001), Random Harvest (1942), Shall We Dance? (2004), What's Eating Gilbert Grape (1993), Willy Wonka & the Chocolate Factory (1971),
Watch afterEverything Everywhere All at Once (2022), Five Nights at Freddy's (2023), Killers of the Flower Moon (2023), Mission: Impossible - Dead Reckoning Part One (2023),
Oppenheimer (2023) Saw X (2023), Shortcomings (2023),
StudioFilmNation Entertainment,
About 75 minutes into Flora and Son, its script veers toward the self-reflexive. “What movie are you in?” Flora (Eve Hewson) snaps. “One without you in it,” her son, Max (Orén Kinlan), replies. This sort of exchange fits holistically into writer-director John Carney’s latest. It’s self-aware, sure, but it’s not meta. Like most of the film’s writing, it is entirely transparent in its machinations, going so far as to declare them at points. Supporting characters largely function as symbols rather than people. Continue Reading →