Christopher Nolan is a very cool director. He makes very cool movies. That’s great for fantasy or science fiction but for a war-themed movie like «Dunkirk» his modus operandi is an unusual approach. The movie is gorgeous to look at, but if it wasn’t for Hans Zimmer’s excellent soundtrack, I wouldn’t have felt much watching it. Depicting war as a force of nature without any real antagonist doesn’t help either. But that’s not really a problem because «Dunkirk» was not made to be a war movie. The funny thing is that while the movie might lack emotions by identification, it is still better described as a feeling than as a movie. A thing to be experienced, not watched as a traditional hero’s journey motion picture (Terrence Malick comes to mind). And it does a very good job at it. All in all, watching «Dunkirk» and «Darkest Hour» back-to-back was a lucky happenstance, making one damn fine double feature movie night with two sides of the same precious coin.
Bittersweet coming-of-age movie with a phenomenal cast. «Lady Bird» definitely got the Oscar vibe going on but in my humble opinion takes itself a tad too seriously. (Though we would have a completely different, probably worse movie if it was anyway else). After all, I guess it’s been too long since my high school years as a teenage girl to really appreciate this contestant. My personal silly highlights in the movie were those tiny little moments when Saoirse Ronan stumbles over her accent. (Full disclosure: I might have fallen in love with her voice while researching on YouTube how the hell her name is pronounced).
Very noicce try. Jordan Peele does a wonderful job in building an interesting world, setting up solid characters and introducing us to a fantastic concept of a story that, not accidentally, reminds us of a different movie set in a similar universe which name I won’t mention because of spoilers. And there’s the Problem: Unlike the not to be named modern classic, «Get Out» promises a little too much for its own good. It can’t quite deliver the payoff it deserves when the movie seems to lose interest in its own story and falls flat in the last act. There might be a masterpiece in there but it just barely couldn’t get out. (Yes, I just wrote that).
Oh the humanity! Thank you, we got ourselves a winner here. Martin McDonagh really knows how to make the shit out of a movie! Dark, intense, human(e). While Tarantino might be the master of dialogue, McDonagh once again penetrates the superficiality, digs deeper and creates some of the most interesting, conflicted and flawed but sympathetic characters in film, embedded in artfully crafted storytelling as he did before in «Seven Psychopaths» and «In Bruges». Mild spoiler: Somewhat eerie to watch Sam Rockwell paying due regard to his character in «The Green Mile».
«Hit the big story hard!» Spielberg’s latest surely isn’t one of his greatest achievements but solid enough to get out of the cold weather and a surprisingly relevant experience given today’s state of the media industry and the current political climate at that. Especially interesting to see his depiction of how news were made before distractions like computers, internet, social media (and iFrames) got so damn important and complicated. If anything, «The Post» excels as an inspiring reminder that journalism has to be about more than clicks, user engagement and the occasional Raclette-Schieber. (Shame though I still couldn’t find a theater playing «Three Billboards…». The Oscars are getting awfully close now and I still haven’t found my favourite).
I can’t even… What the fuck…? and why did they…? how did this even…? And what was the fu**ing point? Just leave me the fu!* alone. FU*K! I could have spent the last two hours so much better,… like going to the dentist,… and let him (or her, no bias there) piss in my mouth. No – I did not enjoy «The Shape of Water». Yes – After seeing this pretentious piece of garbage, today the world has lost the last straight man to have ever seen the appeal in musical numbers, even defended it. No more. N-o m-o-r-e.
I agree that the success of «Black Panther» (and «Get out», for that matter) is an important step in the right direction for an industry (as well as an audience) that has to redefine itself to stay relevant and acceptable today and in the years to come. Way to go! But entertaining as it is and giving the genre a new, interesting spin once again, for a Marvel movie, the Panther seems tame, on the weaker side of things. (But I guess I’m not the main audience they where going for anyway). Happy though that it’s my beloved Marvel Studios, now ten years in the run, that are doing the right thing (too). This in mind, I’m looking forward to a strong female protagonist in «Captain Marvel», hoping the makers stay focused and won’t overdo it because of the ongoing #meToo discussion. (Something I won’t hold my breath for at this year’s Oscar celebrations. Given the circumstances and having seen the nominations livestream, I fear the Awards show will present itself chumming and even more unpalatable than usual).