Images from an aerial tram leaving Manhattan are followed by images of a nearly static bird, of bugs fighting, and of light bending as it passes through glass. Near the film's end the tram lands in Manhattan, as if it had reversed direction; as in all of Murray's films, the images and the editing can pull several ways at once. There are no absolutes, and even the light by which we see is altered by the material it passes through. – Fred Camper
I hope that more people will see Joyland, understand the situation, and eventually change themselves and society so we can have a more accommodating world where everyday tragedies like the one depicted in the film do not occur.
Over the last several years, I have had the privilege of being one of the critics having the opportunity to watch and review several films from writer/director/producer Marcellus Cox, whose efforts are never anything less but grounded, relevant, and steeped in unflinching glimpses illustrating the gripping, inspired, and ever-vacillating realms that make up the human condition.
As a musical fan, I enjoyed the film and encourage anyone who likes dark humour and a bit of blood to give it a watch.
The “gay best friend”, an age-old trope, has been done in countless films and television series. Ranging from one-note (Sex and the City's Stanford and Mario) to nuanced (Unbreakable Kimmy Schmidt's Tituss), the gay best friend exists to support and advise the main protagonist, with their conflicts swept to the side.
Despite everything it was capable of, all of these poor choices strung together amount to nothing more than a counter-productive film.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
