The Tornado mostly followed pulp Western formula -- bad guys hold up a town, take a girl hostage, and the hero rides to the rescue. But there were a couple of twists that made it seem more personal than the usual cowboy fare. Ford's Jack Dayton ... is known as "the No-Gun Man" because he faces the villains unarmed, anticipating the character played by James Stewart in George Marshall's 1939 Western comedy classic Destry Rides Again. Dayton is an immigrant who uses the reward money to bring over his mother (Jean Hathaway) from Ireland, a prototypically Fordian situation if there ever was one.
As a huge fan of Sean Baker’s Tangerine, The Florida Project, and Red Rocket, I’ve wanted to watch Anora since before it even was released. But life got in the way, my watchlist grew, and honestly, the fact that it was marketed as a romantic comedy put me off. Even with all the critical praise and the five Academy Awards it won last year, I just kept postponing it indefinitely.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
Seven years after George Miller's previous film, 'Mad Max: Fury Road', he dives back into the scene with an equally daring movie. Although not nearly as action-packed, his newest film 'Three Thousand Years Of Longing' challenges the typical format of a film, giving you a well-known plot in an unexpected way.
Amsterdam is a confusing movie with a meandering plot amidst a beautiful rendering of 1930s New York
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
This film is a splendid mix of mediums, but its strength lies in its simplicity and beautiful message of closeness.
