112 Best Releases From the Genre Family

White Bird, currently in theatres (or just departed, depending on where you live), spins off from surprisingly well-done Wonder. However, the true 2024 heir to the warm and unusually honest 2017 family film arrives on Disney+ this week in the form of Out of My Mind. The “kids with a chronic condition” genre is challenging to navigate. Too far to one side and the work mires itself in cliché while elevating the lead to something like sainthood. Too far in the other direction, it becomes cruel, unpleasant, cynical, and possibly devoid of empathy. It is a credit to Out of My Mind that it navigates that tightrope without visible strain. Directed by Amber Sealey from a script by Daniel Stiepleman, it does right by the tart Sharon M. Draper novel without simply being an airless recreation. There are some stumbles regarding the villains and the film’s final note, but overall, it is a quick-on-its-feet family film that doesn’t wince away from the hardships of disability and being 12. It’s clear from the early moments that plenty of thought has gone into the feature. Because Melody’s (Phoebe-Rae Taylor) cerebral palsy affects her muscle control, including that of her tongue, she cannot communicate via her voice. She still has an inner monologue and, as she points out, can give that any voice she wants. So who does she choose? Who any 12-year-old girl in 2002 would. Jennifer Aniston, of course. And see Rachel Green herself gives Melody (and the film) her voice. Continue Reading →

A word of warning: this is a slightly different kind of review. I took my son, a massive fan of The Wild Robot book series, to see an advance screening of the film with me. So, there will be a paragraph with his reaction to include a 10-year-old kid’s perspective on this family feature. The rating and rest of the text are mine, though. Sorry, you have to deal with my usual nonsense to get the real opinion that matters. Sometime in the future, a robot awakens on a beach. “She’s” surrounded by broken crates and other debris makes it clear that this was not an intended destination. Programmed to be of service, she attempts to get any of the island’s denizens, all animals, to give her a task. Even after an intense software update gives her the ability to understand and speak the language of the animals, none of them will give her something to do. Soon, though, an accident provides the task. After falling down a hill, thanks to the animals’ cruelty, the robot crushes all but one goose egg in a nest. Unaware of what the eggs are or the process of imprinting, she unintentionally is in the right place, at the right time, to become the newly hatched gosling’s defacto mother. Now she has a task, one that she has no programming for and only the vaguest idea of what to do. Like all new moms. Or parents, for that matter. Continue Reading →

Back in the aughts and early teens, television discovered a kind of alchemy. Take a murder. First, assign some good but overly serious cops to it. Then, team them up with an unusual consultant. Voila! TV magic. In no time, the subgenre spread like wildfire over network and basic cable. Anyone could be a quirky consultant, including a former cop overwhelmed by mental illness (Monk), a mystery writer (Castle), a fake psychic (The Mentalist, Psych), mathematicians (Numb3rs), and time-traveling revolutionary war soldiers (Sleepy Hollow). Sure, they weren’t high art, but they frequently provided a great time in front of your big screen. High Potential, the American remake of a French series, delightfully transports audiences back to that breezy era. Developed by Drew Goddard, the series revolves around Morgan (Kaitlin Olson). A single mom of three, she struggles with interpersonal and professional relationships. The cause, in part, is her off-the-charts IQ, which gives her insomnia, an intolerance for authority, and difficulty dealing with anything that isn’t “right.” Those same features lead her to rework an evidence board at the Los Angeles police precinct where she’s working her latest gig as a cleaning lady. When head detective Selena (Judy Reyes) traces the changes back to Morgan, she offers her a job, much to the frustration of Detective Karadec (Daniel Sunjata), Major Crime’s go-to investigator. Judy Reyes and Daniel Sunjata enjoy that classic morning pairing. Coffee and crime scene photos. (Disney/David Bukach) Javicia Leslie and Deniz Akdeniz, and Garret Dillahunt round the police side of the cast as two younger and more welcoming members of Major Crimes and a gambling-addicted head of Robbery/Homicide, respectively. At home, Taran Killam plays Ludo, Morgan’s most recent ex and father to her two youngest children including Matthew Lamb as Elliot, inheritor of Morgan’s IQ and love of random facts, but not yet her attitude. Her oldest daughter, Ava (Amirah J), seems more like her father, who disappeared when Ava was still in diapers. She believes he abandoned the family, while Morgan insists he’d never. Continue Reading →

After several attempts at relaunches and reimaginings, last year’s Teenage Mutant Ninja Turtles: Mutant Mayhem finally hit on a formula that justified bringing those heroes on the half-shell back yet again. Ditching the cluttered live-action CGI of Platinum Dunes’ previous Turtles’ films in favor of a fresh and fluid animation style, the film shifted focus from “ninja” to “teenage.” The green guys could still fight—and did—but the story was more interested in the adolescent longing for peer connection. Add a propulsive soundtrack and a real sense of place, and they got a refreshing delight. It only makes sense that Paramount would want to move the approach from the big screen to the little one with Tales of the Teenage Mutant Ninja Turtles. Unfortunately, budgets are a thing. Moving to 12 episodes (the first six provided for critics) on streaming means fewer dollars and further to stretch them. Thus, while Leonardo (Nicolas Cantu), Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Raphael (Brady Noon), and April (Ayo Edebiri) return with their original voices, several are either changed or don’t return at all. For instance, Jackie Chan no longer voices Splinter. His replacement, James Sie, communicates only in a gibberish language called “vermin”. To be fair, it is a fun/funny solution to the usual “different guy trying for the same voice for the cartoon series” problem. Robot 02 would just like a little hug. Honest. (Paramount+) The other mutants—the antagonists turned protagonists of the film—simply don’t appear. That’s not especially surprising. It’s hard to imagine getting the likes of Paul Rudd, Giancarlo Esposito, Post Malone, and Seth Rogen to ALL commit to a 12-episode order and have any money left over. That said, Rose Byrne contributes a brief but amusing cameo as Leatherhead. There is a chance the rest, or some portion, might return in the back half of the season. Regardless, their prominence ranges from significantly curtailed to entirely eliminated. Continue Reading →

As metaphors for one’s tweens and early teens, a superpower that changes your body, often without your control or knowledge, and leaves you questioning who you truly are at any given moment isn’t exactly subtle. But when it comes to chronicling the travails of middle school, perhaps subtlety isn’t the best way to approach the problem anyway. It’s the metaphor Ben (Lucian-River Chauhan) finds himself living as a seventh grader in Me. At school, he’s the new kid, an easy target for Jason (Brock Duncan), the bully who positively bristles with overcompensation. At home, he’s a visitor trying to become a resident as he and his mom, Elizabeth (Dilshad Vadsaria), move in with his stepdad Phil (Kyle Howard) and older stepsister Max (Abigail Pniowsky). His father is nowhere to be seen and quickly dismissed when mentioned. Max’s mom is a constant presence, even if it is usually just by mention. Then, one morning, Ben wakes up looking like Max’s friend (Jeremiah Friedlander). Like the mutants of Marvel’s X-Men, his superpower has kicked in just as adolescence is gearing up. "What do you mean, we aren't allowed to say cap?" demanded Kyle Howard and Dilshad Vadsaria. (AppleTV+) That bit might resemble the lives of Cyclops of Jean Grey, but in most other ways, Me feels a lot more like a junior version of Buffy the Vampire Slayer for the Gen Alpha set. Like Buffy’s Slayer mantel, Ben’s shapeshifting abilities become a gateway to a far stranger and more dangerous world existing just under the surface of his new home. And just like that series, Me plays best when it focuses on the growing pains of adolescence. Continue Reading →

So it’s fairly obvious that the first two seasons of The Bear had a whole birth/death thing going on. The show opens in the aftermath of the shocking and abrupt suicide of Mikey Berzotto (John Bernthal), and the first season charts the slow, inevitable death of his restaurant, The Beef, under the stewardship of his little brother Carmy (Jeremy Allen White) and best friend Richie (Ebon Moss-Bachrach). The second follows the birth of The Bear, the new restaurant that rises from the ashes of The Beef, as well as the blossoming of many of its employees from a sloppy blue-collar crew to a careful, refined, highly efficient team. And Carmy flirted with birthing a life outside the kitchen through his relationship with old-flame-from-back-in-the-day Claire (Molly Gordon). But while the first season ended in pretty unambiguous triumph when Carmy, Richie, and the rest of the Beef staff were suddenly flush with cash and a plan for the future, season two ends on a significantly darker note. The Bear manages to open its doors on time and have a successful opening night, but Carmy’s relationships with Richie and Claire are in tatters—casualties of Carmy’s rage and anxiety. There was a kind of dry run for the catastrophe that closed the end of season two near the end of the first. Carmy loses his shit, breaks a bunch of stuff, yells, and alienates pretty much everyone. But the final episode brought them all back together, stronger than ever. Carmy is what George Costanza would describe as a “delicate genius,” ferociously gifted but intense and unpredictable. To work with him is to warm yourself by the raging fire of his mind while trying to avoid getting burned by the constant sparks and flares that burst from it. “THE BEAR” — “Tomorrow” — Season 3, Episode 1 (Airs Thursday, June 27th) — Pictured: Jeremy Allen White as Carmen “Carmy” Berzatto. CR: FX. The show did an elegant job pacing Carmy’s assholeishness with revelations about his past home and professional life. He grew up in a single-parent home with an alcoholic, mentally unwell mother, prone to fits of rage and depression. He worked under a monstrously critical chef while he was coming up, who criticized and undermined everything he did. These revelations are for the audience, not necessarily the other characters in the show. So when Carmy melts down in a fit of panic and self-loathing on opening night, we know it’s informed by his hyper-tense childhood and abusive mentor. But the people who work under him don’t. Some know parts, but no one knows everything. And it’s harder for them to understand.Now we come to season three, and the completely reasonable expectation is that it will open much like season one closed. Having learned a valuable lesson, Carmy will gather the crew back together, apologize, and things will return to normal in the kitchen. Oh, it might take a little longer for some of them to come around than others, but everything will work itself out. Except it doesn’t. Because while the first two seasons were concerned with birth and death, the third is a lot more about life. And the thing about life is that it’s its own thing, separate from birth and death. They’re related, obviously, but life is also a distinct thing in ways that birth and death are not. Continue Reading →

There’s no honest way to say WondLa looks ugly or uninteresting. The environs, in particular, make wonderful use of gentle pastels broken by sharp primary colors to create a world both beautiful and utterly alien (no pun intended) to our protagonist, Eva (Jeanine Mason). But visually attractive isn’t the same as unique or arresting. Sadly, once one begins to scratch the show’s surface, it reveals many all-too-familiar elements. Sometimes, it is just a general sense of the thing. At others, it is nearly one-to-one. For example, Eva’s first otherworldly ally, Otto (Brad Garrett), is a furry talkative sibling to Raya and The Last Dragon’s Tuk Tuk. Similar design elements are typically easy to accept for this critic, provided the story utilizing them offers enough to chew on. It is here that WondLa truly stumbles. A collection of other “coming of age” and “humanity’s end” stories’ greatest hits, the series never offers something fresh enough to get its audience to sit up and take notice. A collection of strong voice work, including Teri Hatcher—who has proven herself a real voice talent asset over the years—is further hamstrung because the voices come from mostly thinly sketched characters. Sarah Hollis and Jeanine Mason love your new look. (AppleTV+) In some unnumbered future year, Eva is the only child living in a vast underground bunker known as a Sanctuary. Her only true companionship is a robot surrogate parent, Muthr, who sees to the child’s physical—and, with time, inevitably—emotional needs. When Eva turns six, she—and the audience—learns she is part of a program to “save” humans from themselves. Under the direction of Cadmus Pryde (Alan Tudyk in a rare straightforward voice performance), the dwindling human populace built an array of Sanctuaries. In each, a robot raised children until the planet healed from the various environmental catastrophes and violent conflicts people visited upon it. When the Earth is ready and the children properly trained, they will be released to the surface to re-establish society and maybe treat each other and their planet right this time. Continue Reading →

Save for that movie where Larry the Cable Guy supposedly urinated in public, Pixar sequels are rarely terrible. Finding Dory, Incredibles 2, and Monsters University are vastly preferable to the average Minions or Hotel Transylvania follow-up. Even Cars 3 wrung more pathos than expected out of its ill-conceived universe. The greatest problem with these sequels has been that they’re merely competent. They’re serviceable watches, but many are safe retreads of the familiar. Risks are minimal, idiosyncratic animation flourishes are scarce. When absorbing these follow-ups, it's hard not to yearn for more challenging original Pixar titles like Turning Red, Ratatouille, or WALL-E. Still, details like the unexpected third-act detour of Monsters University or the charming new characters in Finding Dory are absent from your standard Ice Age or Illumination sequels. If we must live in this franchise-dominated pop culture landscape, Pixar has delivered more hits than most. Goodness knows the Toy Story sequels are outright masterpieces of long-form cinematic storytelling. The newest example of the label’s pleasant, if far from groundbreaking, sequels, is Inside Out 2. Directed by Kelsey Mann (a new feature film helmer taking over for previous director Pete Docter), the sequel expands on the world of Riley’s mind established in 2015’s Inside Out. Continue Reading →

Big old monster brawls are a delight. They're one of the great pleasures of the Ultra series, the Eiji Tsuburaya-created science fiction series that's brought joy to folks worldwide for 58 years and counting. While the series kicked off with the monster mystery series Ultra Q in 1966, it was Ultraman (launched in July of that year, shortly after Ultra Q wrapped), the tale of a benevolent alien superhero who lived among humanity and fought aliens, giants, and giant aliens alongside a human Science Team (in capital letters). In the decades since Ultraman broke out, the series has proven flexible. It's first and foremost a kids' superhero show, but it's made space for experimentation and idiosyncrasy. See, for example, the great Shinji Higuchi and Hideaki Anno's 2022 film Shin Ultraman, a loving tribute to and riff on the original 1966 series that embraces kaiju wrestling and contemplation of humanity's place in the cosmos equally. Or, heck, head back to 1966 and dig into the episodes of the original series directed by acclaimed filmmaker Akio Jissoji. At its best, the new animated feature Ultraman Rising proves the strength of the Ultra series' core ideas—right good monster mashing mixed with a journey into humanity—with loveliness and style. Unfortunately, it's not at its best often enough to clinch the game. Rising is a messy, disjointed picture. Continue Reading →

So. Knuckles the Echidna attends a Shabbat dinner. That isn't the start of a joke for an incredibly specific audience; that's the set-up for episode three of his new miniseries. Picking up where Sonic the Hedgehog 2 left him, the six-episode show follows the last of the Echidna Warriors on his epic, life-defining quest to define his life with something other than epic quests and grand battles. Knuckles trying to live his life as though his mission to protect the all-powerful Master Emerald was the alpha and omega of his existence only resulted in driving his foster mother, Maddie Wachowski (guest star Tika Sumpter), up the wall and getting himself grounded. So, after some prodding by Sonic (guest star Ben Schwartz) and the ghost of Echidna Chief Pachacamac (Christopher Lloyd), Knuckles gets down to figuring out who he wants to be and what he wants to do with his life. His new purpose? Help Green Hills' goofball deputy sheriff Wade Whipple (Adam Pally) find his dignity by teaching him the ways of the Echidna Warrior so that he might apply those ways at a national bowling championship and, through struggle and glorious victory, put some ghosts from his past to rest. Their allies? Wade's loving, world-weary mom, Wendy (Stockard Channing), and his trying-way-too-hard FBI agent sister, Wanda (Edi Patterson). Their foes? A duo of rogue GUN agents (Scott "Kid Cudi" Mescudi and Ellie Taylor) who want to sell Knuckles to a Dr. Robotnik wannabe (Rory McCann), Wade's egomaniacal bounty hunter ex-best-friend Jack Sinclair (Julian Barratt), and a champion bowler who moonlights as an utterly despicable cretin (Cary Elwes). Knuckles brandishing a rubber chicken is a lower-key moment in a gloriously goofy show. Paramount. From the jump, Knuckles is deliberately and intensely silly. Knuckles' initial stubborn devotion to his life-is-the-capital-letters-MISSION-and-nothing-else mindset becomes a vehicle for action comedy beats built on the dissonance between the inherently ridiculous image of grown men being manhandled by an anthropomorphic echidna and the fact that ridiculous or not, Knuckles is absurdly strong and, when he wants to be, creative on the battlefield. When Sonic and Tails (guest star Colleen O'Shaughnessey) convince him to try making himself at home, Knuckles certainly does. After all, what's more homey than a giant throne in the dining room and swapping the den for an Echidna fighting pit? Continue Reading →

As the opening minutes of Roku's The Spiderwick Chronicles is all too glad to remind us, "This is a dark fairy tale." A decidedly on-the-nose sentiment to blurt out to an audience in its beginning seconds, to be sure, but that matches the vibe of the series: A lot of spells, but very little magic. The show was rescued by Roku after Disney+ cut it in 2023 after completing the series; the move was ostensibly to cut costs, part of the streaming squeeze we're all going through as streamers start realizing it doesn't quite pay to firehouse out an endless stream of expensive content. But based on what we've seen, they may have been on to something. Based on the early-aughts children's fantasy novels by Holly Black and Tony DiTerlizzi and updated by Aron Eli Coleite, the show offers a coincidentally similar premise to Coleite's prior show, Netflix's Locke & Key: A mom and three siblings moving to their family's ancestral home in the wake of losing their father (here, it's to divorce), only to find magical secrets that lie inside. In Spiderwick, that family is the Graces, each of which has their own distinct quirks but not a lot of space to develop beyond them. There are twin brothers Jared (Lyon Daniels) and Simon (Noah Cottrell), the former with mental health issues and the latter with a chip on his shoulder about leaving their dad behind. Older sister Mallory (Mychala Lee) is a fencing prodigy whose meticulous life planning may be her biggest weakness. Mother Helen (Joy Bryant) is doing her best to hold the family together, all while trying to deal with her institutionalized Aunt Lucinda (a small but powerful guest turn from Charlayne Woodard), who continually goes on about boggarts and ogres and faeries. The Spiderwick Chroniciles (Roku) But based on the house they move in, the creaky, ancient Spiderwick estate, with its labyrinthine tunnels, and the large tree that grows in the middle of the foyer, there may be something to Aunt Lucinda's mutterings (and, it turns out, Jared's visions). Turns out their relative, Arthur Spiderwick (Arthur Jones), spent his life chronicling the fantastical creatures and artifacts he came across in his varying travels, collecting them all in a Field Guide that the kids happen upon not too far into the series. Trouble is, they're not the only ones looking for the guide: maniacal ogre Mulgarath (Christian Slater) wants it too, and for hardly altruistic reasons. Continue Reading →

Michael Douglas's career so deeply connects him to as specific kind of late 20th/early 21st Century man. As a result, throwing him back to the 18th Century and into the body of Benjamin Franklin feels deeply counterintuitive. It is not surprising that Franklin­—an adaptation of the book A Great Improvisation by Stacy Schiff—is one of the few period projects Douglas has done, joining the likes of The Ghost and the Darkness and those flashback scenes in the Ant-Man films. What is surprising, and to the series’ credit, is how quickly that strangeness recedes. It isn’t that Douglas manages to fade into the role of Franklin until he disappears entirely, but he does manage to recede enough that he doesn’t disrupt the show’s reality. In some ways, Douglas proves a surprisingly apt selection. No stranger to playing womanizers on screen, Douglas easily finds the correct valence to portray Franklin’s specific flavor of late 18th-century skirt chaser. The metacommentary works in his favor as well, an aging icon who retains much of his skill but perhaps can no longer command the same buzz or box office returns embodying an aging icon whose mind remains sharp but whose body—and possibly will—has been beaten up by life and time. While almost a decade older than the Franklin he’s portraying, Douglas also excels at the moments where the audience witnesses the statesman energized like old times. Thibault de Montalembert has neither the time nor the interest in your lame attempts at Call My Agent/Dix pour cent joke attempts. (AppleTV+) Still, the script too frequently hamstrings the actor. Not bad by any means, the writing still suffers for trying to match Franklin’s reputation. It’s the old conundrum of trying to build a series, film, or play around a singular piece of art. How does a creator convince the audience that someone is singing the most fantastic song ever without truly writing the most fantastic song ever? Similarly, how do writers provide dialogue to what is, by historical reputation, one of the greatest wits in American History without simply quoting his greatest hits? Continue Reading →

Peacock’s claymation sitcom is at its best when it skips the satire for the strange, but “best” is grading on a curve. To its credit, In The Know resists dropping the term “woke” to describe its characters. Unfortunately, in a fairly disastrous opener, that’s the only “those silly sensitive liberals” signifier it lets go past. The premiere’s big joke, one it repeats OFTEN, centers on the proper terminology for someone without a place to live. Because, of course, it's a goofy waste of time to worry about language. Only Zach Woods’ ever-increasing profane frustration at being corrected by Fabian (Caitlin Reilly) saves the bit. His voice performance as “NPR’s third most popular host” Lauren Caspian is just sly enough to make it unclear if his anger comes from his inability to remember the correct term, someone having the nerve to interrupt him, or the thought that someone in the office might be more progressive than him. It isn’t that mocking blowhard radio hosts can’t be a rich comic vein. Just check out the original Frasier series, a show with a strangely intense cross-generational appeal that persists even over 19 years after the final episode aired. It’s centering that mockery on NPR, particularly an NPR that has more in common with a conservative’s fever dream of what the company is like rather than anything resembling reality, feels like a weak tea. Fortunately, things improve for In The Know as it quickly moves beyond what initially seems like an exercise in sticking it to those caricatures of public radio employees. Continue Reading →

J.A. Bayona directs a heartbreaking adaptation of a true-life tale of tragedy & miracles. Though we joke about the smallest inconveniences rendering us helpless, in truth the human will to survive cannot be underestimated. When confronted with imminent death, we can and will resort to extreme means to escape it, sometimes in ways that might shock and horrify those who weren’t there. One such story was Aron Ralston, a hiker who was forced to break and cut his own arm off after he was trapped by a fallen boulder, as depicted in 2010’s 127 Hours. Another was a 1972 plane crash in the Andes mountains, after which the survivors, faced with subzero temperatures, no food, and no plant life or animals to be found, eventually resorted to cannibalism to avoid starvation. The Andes plane crash story was adapted for film a number of times, including the trashy, exploitative Survive!, and 1993’s competently made but whitewashed Alive, in which Ethan Hawke was cast as a character named Nando Parrado. Now J.A. Bayona, whose 2012 film The Impossible was also a harrowing tale of survival, takes a turn with Society of the Snow, a gripping, heart-wrenching look at the emotional toll such an unthinkable event takes on those who somehow came out of it alive, if not exactly well. Continue Reading →

Albert Lamorisse's flights of fancy come to Criterion courtesy of a gorgeous new box set. There are few things more wondrous than a child's imagination -- its capacity to uplift itself beyond the pain and doldrums of everyday life to see the world through new eyes. One of cinema's greatest chroniclers of that imagination is French filmmaker Albert Lamorisse, a contemporary of the French New Wave who literally went high where his peers went low. His domain was in short, charming, powerful films often linking child protagonists to wonders both terrestrial and supernatural: an animal that captures their heart, or the unyielding power of flight. Now, Criterion has captured that magic in a new two-disc Blu-ray set containing the bulk of Lamorisse's flashes of cinematic whimsy. The crown jewel of the pack, of course, is 1956's The Red Balloon, the only short film to ever receive a major Academy Award (for Best Original Screenplay; no small feat, considering the film, like many of Lamorisse's, relies on very little dialogue). It's a simple, elemental tale of a boy (Lamorisse's son, Pascal, a frequent star of his works) walking the grey, rundown streets of postwar Paris -- the Ménilmontant neighborhood, to be specific -- only to find himself befriending a bright red balloon that follows him everywhere. The two seem to build some ineffable connection, a bond that plays out through the streets of Ménilmontant. The boy's parents and teachers don't understand their friendship. His peers envy it, chasing them through the streets to tragic ends. Continue Reading →

Kids deserve better than yet another dull, going-through-the-motions misfire. The animation world was recently startled by Warner Bros.' announcement that they planned to shelve their recently completed feature Coyote vs Acme for a quick tax write-off, rather than spend money to release it. Not to be outdone, Disney Studios offers up Wish, an animated feature that is the kind of artistic misfire that deserves to be hidden away and never spoken about again. This is a creation so alternately bewildering and banal that it's implausible that at no point during the entire creative process did anyone point out the seemingly obvious fact that virtually none of it works on even the most basic levels. Wish takes place in the kingdom of Rosas, which was founded and is currently ruled by Magnifico (Chris Pine), a seemingly benevolent sorcerer who offers peace and protection for all those who live there. The catch is that they must surrender their deepest wish to Magnifico, who stores them in the lab in his castle in bubbles and once in a great while returns one to the person who made it. Inexplicably, the people of Rosas think this is a good deal, none more so than Asha (Ariana DeBose), a teenager who is all in on both Rosas and Magnifico and is hoping that the latter will present her beloved grandfather (Victor Argo) with his wish to commemorate his upcoming 100th birthday. Continue Reading →

The Trolls movies continue to indulge in their best and worst impulses in a third installment. The poster for this past summer's R-rated comedy No Hard Feelings had a reasonably clever tagline to explain the strained dynamic between the film's two leads. Against an image of Jennifer Lawrence squeezing Andrew Barth Feldman's cheeks, a single word is placed on top of each person's face: "Pretty" and "Awkward." Nothing revolutionary in design, but it gets the job done. Best of all, that tagline also makes for an apt descriptor for Trolls Band Together. The third entry in the Trolls trilogy (based on the popular 80s dolls), Trolls Band Together does indeed live up to the phrase “Pretty. Awkward.” The animators at DreamWorks keep coming up with gorgeous-looking environments for the titular critters to inhabit that look like they emerged from the wreckage of a craft store explosion. Unfortunately, the writing remains as stilted as ever. Continue Reading →

When I was around thirteen, two classmates, Christina and Taylor (their real names, it’s not like they’re going to read this), played a prank on me that resulted in my eating dog food. In retrospect, it could have been worse: nobody else saw it happen, and for whatever reason they kept it to themselves. But when I think about my teenage years (and I try not to much at this point in my life, other than at a superficial pop culture level), my mind often goes to that moment. Continue Reading →

I love detective stories. Tales of how, as Sara Gran would say, "truth lives in the ether." Explorations of people and places and how they shape each other. The journey down the streets towards a hidden truth. Dennis Lehane's Darkness, Take My Hand, is my favorite book. Rian Johnson's Brick and Ben Affleck's Gone Baby Gone are movies I think the world of, never mind all-timers like Howard Hawks' The Big Sleep and Robert Altman's The Long Goodbye. And, of course, the immortal Who Framed Roger Rabbit? from Robert Zemeckis. Any time there's a new detective film, whether it be an affably bleak comedy or an action-driven character study, it's a treat. Continue Reading →

Local filmmakers, horror & desire are all given the spotlight at the Chicago International Film Festival's shorts program. This piece was written during the 2023 SAG-AFTRA strike. Without the labor of the actors currently on strike, the work being covered here wouldn't exist. The first program of shorts featured at this year's Chicago International Film Festival, titled “City & State,” highlighted local voices with astounding range. Dustin Nakao-Haider’s film Ethan Lim: Cambodian Futures is a poignant and complex film highlighting Chicago chef Ethan Lim and his hope for a different future that moves Cambodian food in revolutionary directions. Director Linh Tran’s Video Funeral grapples with similar issues of loss, (re)connection, and family brought about by diaspora. Like Linh Tran, Ian Kelly’s animated short Soft Lights and Silver Shadows is a tender testament to how art and media can help transcend time, distance, and mortality. Equally fascinated with different domestic dynamics, Tetsuya Mariko intently investigated what makes a family against crumbling infrastructure in his tense Before Anyone Else. Continue Reading →

When Godfrey Reggio’s monumental experimental documentary Koyannistqatsi (Life Out of Balance in Hopi) first entered the zeitgeist, its radical nature as a postmodern film, with a thoroughly entrancing score by Phillip Glass, became intertwined with the rise of MTV and a new era of visual aesthetic being born within the music sphere. From the noise rock band Cows to electronic musicians Dr. Atmo and Oliver Leib to superstar pop singer Madonna, the film had an indelible effect on music and the music video.  Continue Reading →