Friday, November 16, 2018
Wednesday, November 14, 2018
Bird Box is going to have to endure endless comparisons to A Quiet Place, which won't help Susanne Bier's post-apocalyptic drama about a mother (Sandra Bullock) who lives in a world where people have to keep their eyes closed in order to stay alive. I reviewed the film for Screen International.
Tuesday, November 13, 2018
I had a fun time hanging out with Isa Mazzei and Daniel Goldhaber, who, respectively, wrote and directed the new psychological thriller Cam. We talked about porn, sex workers, horror, exploitative labor, Instagram and the tortured-artist trope. Our chat is now live at MEL.
Monday, November 12, 2018
On this week's podcast, I tell Will why I hated The Grinch so much. We both debate the minor merits of Overlord and The Girl in the Spider's Web. And then, we spend a little time with Outlaw King, which convinced me that Chris Pine is a very good actor who may not be great. (I still liked the movie quite a lot, though.) Hear the whole thing down below.
What are "soft reboots"?
How did The Girl With the Dragon Tattoo construct its awesome title sequence?
Why does The Girl in the Spider's Web have a One Perfect Shot problem?
I answer all that, and more, over at MEL.
Friday, November 09, 2018
On the Basis of Sex, a drama about Ruth Bader Ginsburg, premiered last night at AFI Fest. I saw it early, which I mention because I imagine that the audience last night was extra-emotional about the subject matter due to Ginsburg's recent fall. My view is that the movie is very well-meaning and sufficiently well-acted to overcome how basic its storytelling is. My review is up at Screen International.
Sometimes, a hip-hop hit's hook isn't just its musical element -- it's the nagging question of "What song is this that's being sampled?" And so you listen to the track over and over in the hopes that you'll figure it out. With Drake's "Nonstop," I finally gave up and looked. You can hear it here.
Thursday, November 08, 2018
Wednesday, November 07, 2018
This was a treat. For the Los Angeles Times, I wrote about a weird happening last weekend: Three major new movies came out, and none of them were the product of one solitary filmmaker. Bohemian Rhapsody, The Nutcracker and the Four Realms and The Other Side of the Wind each started off with one director ... and then others had to finish the film. The circumstances in each case were very different. And yet, they all provoke the same question: Whose vision is ultimately behind these movies? It's something we don't often think about. Maybe we should. My essay is here.