The implication that an audience’s emotions should be wrenched out than coaxed out is as arrogant as ‘Midsommar’ is self-indulgent.
‘On the Basis of Sex’ failed to find and use the fortitude of its subject, rather relying on the convention of “humble beginnings” and sucked all the air out of its own story.
There is a lot of well-meaning ignorance floating around this story, but ignorance is only well-meaning if it does more good than harm.
It’s tempting to believe that the post-Weinstein revelations would yield semi-immediate results, given the fervor with which the court of public opinion rendered their verdict against those men. But then a film like “The Wife” comes along.
Does it make you a bad person for buying a ticket to see Nate Parker’s ‘The Birth of a Nation’?
Just in time for the holidays, Ron Howard cooked up the film version of a turducken: a movie based on a book that’s based on two different accounts of an event […]
The show may have done itself a disservice in making Daniel and Travis the characters to lead, because the former’s aloofness and the latter’s naivete neutered any semblance of dread that should be permeating everyone’s waking moments.
Not even the most dramatic of scores can evoke the fervor required to engage an audience that is watching someone think really hard.
The first impression you get is that of confidence: A director uncommonly confident in his use of bold images to jumpstart a story.
Weren’t we young once? Weren’t we cool, or didn’t we at least feel cool? Weren’t we ambitious and spontaneous and optimistic? What happens to that feeling over time?