The Burial
SimilarAlmost Famous (2000), Anatomy of a Murder (1959), Anna and the King (1999), Apollo 13 (1995),
Boys Don't Cry (1999) Brubaker (1980), Donnie Brasco (1997), Erin Brockovich (2000), Freedom Writers (2007), Gandhi (1982), GoodFellas (1990), Gridiron Gang (2006), Manhattan (1979), Mississippi Burning (1988), Monster (2003), Schindler's List (1993), The Elephant Man (1980), The Last Emperor (1987), The Pursuit of Happyness (2006), The Straight Story (1999), Titanic (1997),
Watch afterBarbie (2023) Killers of the Flower Moon (2023), Mission: Impossible - Dead Reckoning Part One (2023), The Equalizer 3 (2023), The Killer (2023),
StarringAlan Ruck,
Whenever a crowd pleasing movie hits theaters or streaming, people lament, “They don’t make ‘em like they used to.” Often, these people refer to middle-of-the-road movies from the 80s and 90s, the type of film that would play on cable television in the middle of a Sunday afternoon, something that people watch over and over again, simply because it makes them feel lighter. The Burial, the new courtroom drama from writer/director Maggie Betts, falls firmly into this category. It’s dad-fare, set in 1995 when it also likely would’ve had mainstream success in popular culture. Continue Reading →
Air
SimilarAnna and the King (1999), Brubaker (1980), Freedom Writers (2007), I Stand Alone (1998), Mississippi Burning (1988), Raging Bull (1980), The Pursuit of Happyness (2006),
Watch afterThe Super Mario Bros. Movie (2023),
What makes an object meaningful? The plans its creators had for it? The image that its consumers build into it? The purpose it serves? The one who wields it? Continue Reading →
シン・エヴァンゲリオン劇場版:||
SimilarAnna and the King (1999), Resident Evil: Apocalypse (2004),
StarringKotono Mitsuishi, Mariya Ise, Megumi Hayashibara, Sayaka Ohara,
Let me start by saying this: Evangelion 3.0+1.0: Thrice Upon a Time is the best film I have seen in 2021 so far. It's a gorgeously animated conclusion to one of 20th and 21st-century science fiction's great works. It executes both its quiet, still moments and its grand setpieces with care and precision. The voice cast (who have been playing these roles for decades, going back to the original 1995 television series Neon Genesis Evangelion) and the animation team give the cast an excellently detailed life and liveliness. 3.0+1.0's editing—particularly during its extended, tone-jumping climax—is downright sublime. The imagery? To paraphrase Sam Peckinpah, I will not be forgetting what I've seen in Evangelion 3.0+1.0 any time soon. I do not think I could. From a ruined piece of pre-Impact infrastructure twirling in a patch of broken gravity to one of the titular gargantuan combat androids going to work on a swarm of bizarre, disturbing opponents, it's indelible. Whether familiar or bizarre, beautiful or horrifying, 3.0+1.0's imagery is, without fail, flabbergasting. Continue Reading →