As authentic and human as it is funny, The Big Sick makes a strong case for one of the best films of the year.
In just one short week, director Rian Johnson has taken his new Star Wars film from one of the most highly anticipated films in the saga to one of the most divisive. In so doing, he has created a bold and original take on the franchise, one that sees a return to the original film’s roots in some important thematic ways.
Integrating Mexican culture with rich beautiful visuals, Pixar once again wins big with it’s diversity in storytelling with Coco.
Zack Snyder’s follow-up to 2016’s Batman v Superman: Dawn of Justice has none of its predecessor’s thematic ambition and theological inclinations. The crowd-pleaser we get instead is consistently entertaining, even if lacking in a central, grounding theme.
Thor: Ragnarok has a gained a stronger hold in the affections of Marvel fans than previous Thor films. This is largely due to its Guardians-esque sense of humor and absurdity, as well as its neon color palette and “buddy cops in space” vibe with the Hulk. This is all true, and the film is an absolute blast; it also includes some interesting thoughts, though admittedly secondary, on how the Asgardians as immigrants or refugees draw their identity while disconnected from their homeland.
When it comes to good mystery thrillers that fly under the radar, one of the first that always comes to my mind is Red Eye. I have to tell you, before I watched it, I had a sinking feeling I wasn’t going to be impressed. I just figured it would be one of those run-of-the-mill attempts at a suspense film that feels superficial and one one-dimensional. But guess what . . . I own a copy. I don’t spend money on a film that I don’t intend to watch more than once, and I’ve watched Red Eye quite a few times.
Imagine a bad horror film crafted by excellent filmmakers, tech savvy set designers on a budget and one handsome hero with a handful of cheesy one liners that’s sure to make any woman’s heart melt, dead or alive. That’s what you get with Sam Raimi’s 1981 and 1986 cult hit The Evil Dead.