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After what has felt like an endless string of internet rumors, fan fervor and false starts, at last we have our first look at the conclusion of the Skywalker saga.
The year is 1973. In the dead of night, a sluggish Philip Marlowe descends from his stucco apartment tucked snugly into a California hillside. Despite the thick blanket of humidity, the private eye is on the hunt — not for a murderer or jewel-encrusted statue, but a particular brand of cat food. Just two years later, a beloved country singer is shot beneath the shadow of the Nashville Parthenon; as she’s whisked away, drenched in blood, echoes of a jubilant crowd ring from the stage, “It don’t worry me.”
Everyone has their favorites and personal opinions. But if you ask just about anyone, the common consensus is nearly unanimous: Heath Ledger has given us the greatest performance as the legendary and menacing comic book villain, the Joker, to date.
The Marvel cinematic universe is one of the biggest franchises in entertainment history, with each installment generating hundreds of millions of dollars, sometimes even exceeding $1 billion as in the case of “Black Panther” and “Avengers: Infinity War” from 2018.
With its no-nonsense tagline, “Getting Straight A’s. Giving Zero F’s,” a double dose of comedic cockiness and cinematic audaciousness collide rather vividly in Olivia Wilde’s “Booksmart.” Despite a cliche premise involving teenagers and the costly efforts to touch the cusp of social popularity, “Booksmart” utilizes its self-awareness in a post-Superbad world to take the generic tropes fronted by its predecessors and carves an identity that not only defies mediocrity but generates an entirely new nuance altogether.
“Greener Grass” is an absurdist comedy directed, written and led by Jocelyn DeBoer and Dawn Luebbe. Originally a short film, DeBoer and Luebbe turned it into a full-length narrative feature film due to its positive reception.
The horror genre has become more appreciated within the last decade or so, with films like “It," “The Witch," “A Quiet Place," “Get Out” and “The Babadook” able to terrify audiences while simultaneously examining important topics surrounding human nature.
Although Melissa McCarthy is best known for her unfiltered, aggressive and outright hilarious performances (“Bridesmaids”, “The Heat”), it’s clearly evident that this comedic genius is quite capable of tackling dramatic, darkly comedic roles as well. Such is the case in “Can You Ever Forgive Me?” from director Marielle Heller, a rather different kind of film that can best be described as pleasantly enjoyable.
Is it possible to stare too hard at something?
Biopics are hit or a miss, occasionally being something fresh and new, while most of the time being a regurgitation of film history. Damien Chazelle’s (“Whiplash”, “La La Land”) “First Man” sadly fails to be something new, instead falling in line with other Hollywood true stories about an important historical figure.
The 2019 Academy Award nominations were announced yesterday morning in Los Angeles. A wider range of selections in genres highlights the list of nominees.
In 2017, festival goers from across America were excited at the prospects of a brand-new event to attend which promised to be unlike anything to come before it. A private island in the Bahamas, gorgeous women, world class musical performances, and lots of booze. What more could you want? It seemed too good to be true… and it was.
10. The Favourite
Filmmaker Barry Jenkins received both critical acclaim and numerous awards including Best Picture at the Academy Awards for his 2016 film “Moonlight," an intimate and poetic exploration of one man’s alienation and struggle in a society he feels drowned in. Jenkins’ next film follows a completely different style, yet a similar theme. Based on the 1974 novel by James Baldwin, “If Beale Street Could Talk” has its heart in the right place the entire time, overall achieving what it sets out to do, yet struggles to execute its mission to its best ability.
It: Chapter 2
Dick Cheney is seen by many as the most controversial and powerful vice president in American history. With such a shocking legacy, it should come as no surprise that a mainstream Hollywood film depicting his political career doesn’t praise him or present him as an admirable man.
“Well ... that ain’t good,” the shooter proclaims of the bullet holes in his hat — and his forehead. Such morose writing would, in any other instance, draw breathless moviegoers to the edge of their seat; consistent to the directors’ natural flair, though, we need only laugh at the existential gag’s matter-of-fact delivery. Yes, Joel and Ethan Coen return to the big screen in Netflix’s (medium screen?) release of their newest film, “The Ballad of Buster Scruggs.” Tracing the independent anthologies of six vignettes in the American West with grit, irony, tongue-in-cheek humor and a varied cast of peculiar, well-spoken souls doomed to wander the duo’s gifted minds, the two-hour film demands multiple rewatches.
As R&B and rap artists dominate our modern music sensibility, rock bands have seemingly ceased to exist in today’s popular culture. One rock band, however, has stood the test of time and cemented their status in music history unlike any other. You’ve definitely heard their songs, but now it’s time to see the passionate musicians behind the scenes and witness a chunk of history where music wasn’t simply something to listen to — it was something to live.
Well, folks, fall has reached its peak seasonal swing. The leaves have shifted from the lush greens to a deciduous melting pot of auburns, oranges and yellows; humidity recedes into memory as the overwhelming musk of the overcast, rainy woodland sweeps into Madison’s concrete jungle; pumpkins, gourds and an infinity of novelty lattes and doughnuts flood the coffee shops and bakeries of State Street, and so much more.
The Boogeyman is back!