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.
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.
Loving Vincent is a wonderful visual experience that’s worth every penny of its arthouse theater admission cost. It also contains a thought-provoking and nuanced probe into van Gogh’s life, even if executed imperfectly.