It’s just fine, but one can’t help but wish that it was as defiantly unconventional as Curie was.
I’m sure that Serling, who spent much of his time on “Twilight Zone” opining the danger of losing yourself- to greed, to paranoia, to conformity- would approve.
In the course of just six months, we have published 100 reviews and written over 89,000 words. Since our formation, Static and Screen has had over 1,400 views from 300 visitors from 17 different countries. I’m very proud of how far we’ve come and look forward to the next 100 reviews.
As disposable as the film is, it’s hard to completely denigrate a film that has this much willingness to make you chuckle. Laughter is good medicine, especially right now, and Bautista and company dispense it with ease.
The film may be “based on a true story,” but it’s written by someone whose idea of reality seems to come only from middling “Rocky” sequels and Wikipedia’s list of sports cliches.
“Knives Out” is impeccably acted, beautifully designed and quite fun at times. It is also more than a little enamored with its own cleverness – a self-love that I’m not entirely sure it deserves.
If there is any justice in the world, “The Vast of Night” will do for Patterson what “Jaws” did for Spielberg- serve as a dazzling calling card and an entry into bigger and better projects.
For every film scene you love, hundreds of faceless professionals gave days and weeks and months to get it just right. That’s a feat worth recognizing and, for the most part, “Making Waves” does these unsung heroes justice.
A lot is said, but very little happens, and that takes the propulsive energy out of what should be a thrilling story.
This is the only novel adaptation I’ve seen where I wondered, midway through the film, whether it might be quicker (not to mention more fun) to just read the 800-page book.
In the end, “The Hustle” is as flimsy as Hathaway’s British accent and has as much imagination as its bland title.
The doc, at its best, spotlights the symbiotic relationship that can exist between fans and filmmakers – a filmmaker can speak life into the viewers by affirming a part of who they are, and the fans in turn can keep a film alive years later through their passion and dedication.
Armstrong probably didn’t need a definitive biographical portrait at this point anyways, but it would have been nice if the film bearing his name shared his sense of adventure and ingenuity. No such luck.
This is not a film about death – it is a film about a short life lived to the fullest. That’s why it works.
The review you are now reading marks my 50th on “Static and Screen.”
This is obviously a monumental achievement, and not any old movie will do for such a milestone. But how about a film where a priest/part-time dinosaur fights drug-dealing ninjas in his tighty whities? Yep, that will work.
As a film, it is painful and difficult. As history and journalism, it is essential.