In this ostensible murder mystery, the genre elements are merely a pretext for the series of haunting (if inconclusive and only mildly erotic) homo-social encounters he stages. Starting with the familiar premise of the absent woman, so popular with Downtown filmmakers, Vogl drains his storytelling of any hints of noir stylization. Instead of nighttime scenes, slick streets, and dark alleys, he shoots documentary-style on the nondescript, sunlit streets of Brooklyn, Manhattan, and City Island in a manner that casually references the art-film angst of Michelangelo Antonioni.
Americans love the British monarchy. This may seem confusing because only a few short hundred years ago they were our worst enemies, and every year we celebrate our independence from them. The Crown humanizes the monarchy, which might explain its popularity.
'The Suicide Squad' is at its best when it focuses on its characters and commentary on real-life issues, but stumbles when it relies too heavily on gratuitous gore and insensitive humor.
A musical adventure that young viewers will enjoy as Blue and Josh travel to New York City for a big opportunity.
While subverting the conventions of Golden Age cinema with the characteristics of a slasher, Pearl studies the delusions of grandeur inspired by the movies.
Knives Out doesn’t just defy the whodunit narrative, it uses the weaknesses to its advantage. It’s well aware of the genre’s faults and tropes
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
