Ruby Gillman, Teenage Kraken
SimilarAlex Strangelove (2018), Billy Elliot (2000), Bring It On (2000), Enchanted (2007), Harry Potter and the Goblet of Fire (2005), Pirates of the Caribbean: Dead Man's Chest (2006),
StarringColman Domingo, Sam Richardson,
Studiodentsu,
It’s not easy being a teenager. It’s especially not easy being a teenager like the titular protagonist of Ruby Gillman: Teenage Kraken. As that title would suggest, Ruby Gillman (Lana Condor) is a Kraken living in a seaside town with her family. Her parents and younger brother seem to have no trouble assimilating to the broader world, while Ruby struggles. All she wants is to blend in as a normal human-- albeit one with blue skin and no spine. However, to be an average teen, she’ll likely have to break some of her mom’s strict rules, namely, never going near the ocean. Continue Reading →
The Staircase
NetworkHBO Max,
SimilarWhite House Plumbers,
A blandly suited district attorney steps up to the podium to make his opening statement.“In a very real sense, this case is about pretense and appearances,” he intones. “It’s about things not being as they seem.” Continue Reading →
Nightmare Alley
SimilarBasic Instinct (1992), Cube (1997), Cube Zero (2004), Driving Miss Daisy (1989), The Silent Partner (1978), Things to Do in Denver When You're Dead (1995), Vertigo (1958),
Watch afterLicorice Pizza (2021), West Side Story (2021),
StarringWillem Dafoe,
StudioSearchlight Pictures,
Back in 1998, Gus Van Sant released his remake of Alfred Hitchcock’s Psycho. It wasn’t a good movie, but it provided two decent critical talking points. Firstly, was it actually a remake, or was it another adaptation of Robert Bloch’s novel? Given that Van Sant’s film was a shot-for-shot recreation of its 1960 predecessor save for two or three differences, it was a rarity in that, given its context, it ended up being the former. It, for all its failures in execution, used semiotics to circumvent the aforementioned semantics of its identity. Continue Reading →
Dream Horse
SimilarBring It On (2000), Brubaker (1980), Freedom Writers (2007), Mississippi Burning (1988), Raging Bull (1980),
Watch afterAvatar: The Way of Water (2022),
StudioFilm4 Productions, Ingenious Media,
Toni Collette has recently made a name for herself in the broader movie-going culture as a queen of creepy, suspense cinema, with her fantastic performances in Ari Aster’s Hereditary and Charlie Kaufman’s dark and whimsical I’m Thinking of Ending Things. It’s fun to see this resurgence of popularity nearly two decades after she gave what I consider her best performance of her career in M. Night Shyamalan’s The Sixth Sense. Continue Reading →
The Way Way Back
The much-memed movie star finds his footing again in a familiar but satisfying redemption story.
Unfairly relegated to memedom thanks to his disastrous press appearances (“Darkness, my old friend…”) and midlife crisis moments like getting a dragon tattoo that Ed Hardy would call too gaudy, Ben Affleck has nonetheless experienced a fascinating and emotional onscreen transformation over the last decade of his career.
Still undoubtedly a movie star in the classic sense, Affleck’s cocksure marquee attitude has now melted into a malleable melancholy. And while the rest of Affleck’s performances this decade have orbited around Gone Girl’s masterful lead role, his last few performances have been girded with a deadened soul, whether it be the jaded mercenary of Triple Frontier or the brick wall façade of his Batman performance - which always felt like it could smolder into rubble at any moment.
Gavin O’Connor’s throwback addiction film, The Way Back, then feels like an apotheosis of the actor’s new persona. Reuniting with Affleck after The Accountant (yes, the autistic assassin one), The Way Back is a familiar but satisfying take on the redemption story strengthened by the palpable pain of its onscreen protagonist. Continue Reading →
Emma
Clever, handsome, and rich but not necessarily in that order, Emma Woodhouse (Anya Taylor-Joy) is a self-made matchmaker. She tinkers in the personal lives of her peers; she fancies herself somewhere between a queen bee and a B-level goddess. That isn’t to say she plays god, though. She has just enough at stake for that to not be the case. It’s more that she, given her 1800s English setting and semi-detached friendships, is royalty in training. It’s an archetypal base that’s spawned adaptations both loose and tight, but when it comes to Autumn de Wilde’s, it’s a little too atrophied to be either. Continue Reading →