The piercing eyes – and performance – of Saoirse Ronan keep Lady Bird afloat. The re-tread story, however, hardly sparkles. I was never bored, but neither was I exhilarated. At a short running time of 94 minutes, the film felt much longer. 6/10
Not to be confused with Thelma and Louise. It’s just Thelma here.
Knowing filmmaking locked onto a tight character-driven story kept me enrapt.
Note: Two Norwegian films within a month of one-another: what’s going on? Is Norway the new France for film?
SPOILER ALERT: I suggest watching only HALF of the trailer below. It gives away too much.
Comparison Notes: Recommended: Donnie Darko, Sleeping Beauty, The Craft; Not recommended: Ich Seh Ich Seh, The Square, Raw. A number of similarities exist between Raw and Thelma. Thelma is the right way to do it.
My issue was not that there was too much gore, but that there was not enough. The camera cut away at the promised moments of maximum shocking graphic imagery. The film was also hampered by a parallel, simple-simon story on the level of average TV fare. But there’s still some fun, mostly in the first half. 4/10
Comparison Notes (recommended): Cube
The Square is interesting, perhaps, but more so self-important. Pretentious even. It is ultimately a small movie, and I’m not talking budget. I didn’t hate it, but there’s too much nonsense and weak elements masquerading as something bigger — a veil I saw right through. 4/10
PS: The fact that so many critics thought The Square better than director Ruben Östlund’s previous work Force Majeure lays bare why I write a movie blog. A lesser critic called The Square “Smart, Sharp.” I got news for you: I’m smarter than you, and I say The Square was not smart. The ape-man finale that you thought was so clever was ridiculously untenable.
Titles MIA for no good reason drag on the first 30 minutes of a movie that needs all the help it can get. For this I blame Amazon. So… Another fail by Linklater, but the endearing performances keep Last Flag Flying afloat at 5/10.
A24 keeps up its winning streak (2, now, and counting) with The Killing of a Sacred Deer, sort of a (more) psychological thriller version of Cape Fear. Kubrick-esque smooth panning and gliding shots combine with an off-kilter sense of impending weight à la vintage P.T. Anderson, e.g. Punch-Drunk Love.
Colin Farrell and Nicole Kidman’s second collaboration this year is an extraordinary film, masterfully done. The only flaw is an over-reliance on the Theory of the Rope. Without this flaw, we’d be talking best picture of the year. It’s still up there, on par with Get Out. David Sims, The Atlantic:
The Killing of a Sacred Deer is humane and satirical, horrifying and hilarious, at once a work of realism and fantasy
…the new film’s grim scenario of a family under dire threat will make it hard for some to watch. But the impressive rigor of its craft, the skillfully subdued intensity of the acting and the startling originality of the story will make the film unmissable for anyone who cares about bold filmmaking.
A note on Nicole Kidman vs. her friend Naomi Watts. They are both highly accomplished actors — but Kidman sure takes a broad swath of very interesting, compelling, and daring roles. Of late, Watts not so much.