A semi-autobiographical portrait of an Israeli director grappling with creative block as he tries to bring his second feature to fruition. What was supposed to be a personal and heart-warming script about his journey from an ultra-orthodox upbringing in Jerusalem to a secular life in Tel Aviv turns into an obsessive manifesto containing thousands of pages and hundreds of hours of voice recordings dealing with Jewish identity, its problems, and possible solutions.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
Throughout Brendan Fraser’s career, he has played a plethora of unique, layered characters who explore the importance of not being afraid to display your emotions, something that is often seen to not be a masculine trait. This idea of regulating emotion and what traits men are able to possess creates a toxic atmosphere for men who are often told they should not cry or represent their emotions in any physical way. These characters represent that men can be joyful, emotionally conscious, and sensitive, while also representing their masculine identity instead of painting those qualities as fighting against their masculinity.
As noted in the headline, I didn’t like this movie. Not to say it’s the worst thing ever, but it’s just…meh. Nothing much to it. Very generic. No surprises. At the very least, the cast is diverse so I’ll give it that.
It's chock full of dream-come-true moments for Spidey fans, but its lack of substance reeks of a self-indulgence that is rare even in fan fiction
Guillermo del Toro's masterwork "Pan's Labyrinth" stands test of time as it celebrates 20th anniversary in theaters.
The human experience is described through the eyes of a marginalized outsider, neither judgmental nor invested, just an observant donkey.
