Film Reviews
Whitney Houston Comes to Life (At Least On Stage) In I Wanna Dance With Somebody: Review
The Pitch: In 2012, America lost its Voice — Whitney Houston, the once-in-a-generation pop music icon, tragically died at the too-young age of 48. She was on the verge of a comeback after a stint in rehab, haunted by the twin specters of drugs and expectation; that we never got to see that beautiful second act makes her passing all the more tragic. In the meantime, we’ve got the songs and story Whitney left behind, and Kasi Lemmons’ I Wanna Dance with Somebody (or, as Sony’s SEO-focused title change goes, Whitney Houston: I Wanna Dance with Somebody) tries to stuff that into a two-and-a-half-hour speedrun of her life and career, featuring Naomi Ackie as the tragic figure. We see her early days as a gospel singer, groomed for greatness by her ambitious mother Cissy (a perfectly-balance...
If These Walls Could Sing: 5 Things We Learned From the Abbey Road Doc
There’s a certain reverence linked with Abbey Road Studios. It’s one of the most famous recording studios on the planet, and a household name, having welcomed such greats as The Beatles, Pink Floyd, John Williams, Oasis, and so many more. It’s also the namesake of The Beatles’ final — and arguably best — record. Its iconic album artwork, taken on the street opposite the studios, continues to inspire thousands of fans to make a pilgrimage to London themselves and recreate their own tribute. If These Walls Could Sing is the debut documentary feature by Mary McCartney, daughter of Paul McCartney, and it is her love letter to a recording space that her father still has such an intimate connection with, a place that she herself calls home. Featuring interviews with the musical greats who have c...
Damien Chazelle’s Babylon Proves He Loves and Hates the Art of Cinema: Review
The Pitch: It’s 1926, and the movie business is a-boomin’. If you’re on top, you ride along with big-time movie producers to glittery bacchanals out in the California desert, uninhibited orgies stuffed with ticker tape, booze, cocaine, and elephants trudging through the masses of people. If you’re not, well, you sneak in anyway and hope for your big shot. It’s at one of these parties that we meet six figures who represent the end of one era and the beginning of another: Jack Conrad (Brad Pitt), a silent film star whose shine is wearing off after decades in the biz; Nellie LaRoy (Margot Robbie), a hard-partying Jersey girl desperate to make it in the pictures; and Manny Torres (Diego Calva), a hustling assistant climbing the ladder one ludicrous favor at a time. There’s also Elinor St....
Guillermo Del Toro’s Pinocchio Breathes New Life Into the Classic Fable: Review
The Pitch: 2022 has really seemed like The Year of Pinocchio. While the original 1883 Italian novel by Carlo Collodi has had its fair share of adaptations over the years (from classic Disney delights to, well, Pauly Shore in middle-aged twink mode), this year saw new takes on the material from two of cinema’s most acclaimed directors. But where Robert Zemeckis’ retelling felt morbid and soulless, master of the macabre Guillermo del Toro returns to gift us with a version that hits the classic beats of the fable, while slotting it handily into the concerns and aesthetics the director has pursued his entire career. The lumber is the same, but the construction is quite different: Pinocchio (the cherubic Gregory Mann) is still the wooden boy whittled into existence by old carpenter Geppett...
George Clooney and Julia Roberts Reunite in Seaweed-Thin Romcom Ticket to Paradise: Review
The Pitch: David (George Clooney) and Georgia (Julia Roberts) are two hugely successful, extremely divorced people, with 19 years of bitter animus between them. In fact, the only times they even see each other are for the major milestones in the life of their daughter, Lily (Kaitlin Dever), and even then they can’t help but snipe at each other through forced smiles. But they’re forced back into each other’s orbits when Lily shacks up with a handsome seaweed farmer (model Maxime Bouttier) on her post-graduation trip to Bali, and invites them to her whirlwind wedding on the Indonesian island paradise. Recognizing that throwing her career away for idle island living and a guy she’s just met is a Bad Idea, the two plot to sabotage the wedding from the inside. Along the way, though, t...
In Black Adam, Dwayne Johnson Rejects the Hero Part of Being a Superhero: Review
The Pitch: Thousands of years ago, in the fictional Middle Eastern kingdom of Kahndaq, an evil king enslaved his people to mine for a precious ore. One young boy rose up to challenge the king, and his bravery was noticed by some wizards with the ability to grant the pure-of-heart awe-inspiring powers. (Cool idea for a superhero origin — definitely sounds familiar.) Stories about what happened to the boy once he was able to harness those powers and defeat the king are vague, but the resulting hero, known as Teth Adam (Dwayne Johnson), was not heard from again. Until the present day, that is, a time when Kahndaq is largely under the control of outside mercenaries who are also trying to mine for the unobtanium vibranium adamantium eternium there. Despite their strict control, the mercenaries ...
Clerks III Is an Invitation Inside Kevin Smith’s Heart
Kevin Smith’s best films have always been his smallest and most personal works; as a filmmaker, his legacy is a fascinating one, as his attempts at more mainstream Hollywood flicks have never been as creatively successful as the films he increasingly makes specifically for his loyal fanbase. This comes out specifically in the Clerks series, which Smith seems to use as a way of processing big turning points in his life: The original Clerks, of course, was all about the malaise of being in your 20s and not being sure about what to do with your life (its success solving that latter problem for Smith, at least initially). Clerks II, arriving during the middle portion of Smith’s career, focuses a lot on what it means to settle down, get married, start a family, and embrace what you love doing, ...
Armageddon Time Review: James Gray’s Coming-of-Age ’80s Drama Proves Unsatisfying
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: James Gray, an experienced outer-borough tour guide, brings us closer to his own Queens past in Armageddon Time, a semi-autobiographical coming-of-age drama (though he says he wasn’t aiming for that genre; more on that later). The film follows 12-year-old aspiring artist Paul Graff (Banks Repeta) as he struggles with school, makes a friend in his classmate Johnny (Jaylin Webb), clashes with his parents Irving (Jeremy Strong) and Esther (Anne Hathaway), and takes solace in the love of his grandfather (Anthony Hopkins). The 1980 presidential contest looms in the background; at one point, kids at a posh private school start an impromptu chant for Reagan at the mere mention of elections, just before an assembly ...
Hellraiser Review: A True Reboot That’s Pretty Darned Good
The Pitch: The eleventh film in the Hellraiser franchise finds a recovering addict named Riley (Odessa A’zion) stealing and unlocking a mysterious puzzle box, which summons sadomasochists from beyond the grave, led by their high priest Pinhead (Jamie Clayton). These mutilated “Cenobites” will drag either Riley or someone she chooses — intentionally or otherwise — into a supernatural dimension where torment and ecstasy are indistinguishable, and eternal. Now it’s up to Riley and her boyfriend Trevor (Drew Starkey) to uncover the mysteries of the box and stop the Cenobites before they drag everyone into a kinky version of hell. Yes, There Are Eleven Hellraisers: Hellraiser may be one of the most famous modern horror movie franchises, but there hasn’t been a theatrical installment in wi...
NYFF Review: Noah Baumbach Delightfully Skewers Our Fear of Death in White Noise
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: Dom LeLillo’s White Noise is one of those “great American novels” long thought to be unfilmable, a scattered, acerbic takedown of late American capitalism and its incessant need to distract from the inevitability of death with movies, culture, conversation, stuff. And honestly, it’s oddly fitting that the filmmaker who’d finally tackle it would be Indie Darling Noah Baumbach himself: Like DeLillo, he too is concerned with the fits and foibles of academia, the crumbling nature of the family unit, the ways we cling to ephemera just to keep ourselves from falling apart. And so it is with this three-part tale of the Gladney clan, a nuclear family about to go metaphorically (and in some ways litera...
Till Digs Into a Deeply Shameful, Deeply American Tragedy: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: The horrific, deeply shameful, and deeply American story of Emmett Till galvanized the civil rights movement with its tragedy: A 14-year-old Black boy from Chicago, visiting relatives in Mississippi, was kidnapped, tortured, and murdered for having the temerity to interact with a white woman, and Emmett’s mother Mamie Till-Mobley (then known as Mamie Till-Bradley) made the momentous decision to have an open-coffin funeral for her son, displaying his body, mutilated by his killers and bloated from being dumped into a river. These images, heavily circulated in Black publications, brought attention to the evils and injustice of U.S. racism — though they were not enough for Till’s killers (who admitted to the cr...
Paul Schrader’s Master Gardener Treads Very Familiar Soil: Review
This review is part of our coverage of the 2022 New York Film Festival. The Pitch: So there’s this stoic-looking man, sitting at a desk in a dark, spartan room, writing in his journal as we hear his thoughts in voiceover. That’s the set-up for Paul Schrader’s Master Gardener, as it was for his previous two films, The Card Counter and First Reformed. This was also the spirit, at least, of many other movies he has written and/or directed over the years, but his most recent unofficial trilogy takes on a ritualistic quality, as if Schrader is performing his version of stations of the cross, on progressively skimpier budgets. The newest iteration stars Joel Edgerton as Narvel Roth, head horticulturist at Gracewood Gardens, and though his routines appear regimented, he also seems closer to peace...
