If you have finished watching the film Dirty Dancing (1987) and are looking for other movies like it, here is a list of options to consider.
Dicks: The Musical
The audaciously titled Dicks: The Musical comes with an equally eye-catching tagline, boasting the honor of being “A24’s first musical.” That’s bound to intrigue cinephiles everywhere. After all, not every movie studio is trendy enough to regularly sell out of logo festooned merchandise. Or even make hipster merch in the first place. Continue Reading →
Flora and Son
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 →
The Little Mermaid
The spate of recent live-action Disney remakes has run the gamut in quality from pleasantly diverting (Cinderella, Pete’s Dragon) to unwatchable abominations (The Lion King, Beauty and the Beast.) Even the most well-received entries of the bunch struggle to find reasons they should exist in the first place. Rob Marshall’s The Little Mermaid is no different, but for one crucial factor that sets it apart from the rest: Halle Bailey as Ariel. Bailey is so captivating and winsome in the titular role that this remake almost feels worth it just to launch her into movie stardom. Unfortunately, sub-par CGI effects and clunky changes to Howard Ashman’s classic songs often make it feel like Bailey is left to carry the movie on the strength of her remarkable talent alone. With a shaggy runtime of two hours and fifteen minutes—a full hour longer than the original cartoon—it’s a heavy load for one performer to bear. Continue Reading →
Mercedes Bryce Morgan directs Fixation, an uneven but fascinating psychological drama about a woman who undergoes an unorthodox version of therapy.
(This review is part of our coverage of the 2022 Toronto International Film Festival)
Mercedes Bryce Morgan’s Fixation is the kind of film that seems to have been created specifically to play in the late-night slots at film festivals. It's a dark and hallucinatory mix of Pink Floyd: The Wall, Synecdoche, New York and a offering from the Lifetime network, and while I can't exactly say I completely liked it (or could even pass a quiz regarding its particulars), it's presented with enough energy and daring that it's easy to overlook that it doesn’t quite come together in the end. Continue Reading →
One from the Heart
By the end of the 1970s, Francis Ford Coppola was on top of the world. He'd just come off a string of films that weren't just critical and commercial successes, but masterpieces that defined cinema as an artform: The Conversation, Godfathers I & II, and Apocalypse Now -- the kind of run that basically guarantees you carte blanche to do whatever the hell you want. With that kind of blank check, Coppola didn't just set out to make an intensely personal swing for the fences: with Zoetrope Studios, and One from the Heart, he sought to revolutionize the way movies were made and carve out a space for auteurs to make intensely personal projects that didn't require four-quadrant appeal. Continue Reading →
Patch Adams is full of shit. I truly can’t think of a better way to describe it. I could come up with some convoluted metaphor and tell you that watching Tom Shadyac’s 1998 catastrophe is like going to a restaurant and having the waiter spit on your food. I could call it “Jojo Rabbit for the Clinton Era” or label it a “misguided crowd-pleaser.” But I won’t do any of that because I – unlike Patch Adams – refuse to bullshit you. Continue Reading →