Currently browsing the "Drama" category.
Posted by Hannah Buchdahl on March 26, 2017
Life begins as a space drama reminiscent of The Martian or Gravity and morphs into a horror movie that’s more like Alien. It’s a mash-up that didn’t really work for me, so I left the theater disappointed, grossed out, and less than enthusiastic about the prospect of a sequel. Yes, Life leaves the capsule door open for a Life 2, just in case the sci-fi thriller finds itself an audience. I put Life on par with recent (weak) space fare, including The Space Between Us and Passengers, and a few notches below Arrival, which features a similar alien blob that is more visceral than literal in its threat to humanity. The alien creature that co-stars in Life is a flesh-hungry critter that picks off its cast-mates one by one. So don’t get too invested.
Posted by Jill Boniske on March 15, 2017
This father-daughter dramedy/farce from German director Maren Ade may clock in at 162 minutes, but I never got bored and it certainly didn’t drag. The film starts with a familiar premise, but doesn’t go to the sentimental or obvious places you’re expecting. It pits Ines (Sandra Hüller), an über-focused young corporate consultant, against her semi-retired dad Winfried (Peter Simonischek) who just loves a good gag or practical joke. He drops in for an unannounced visit with Ines and tries to get her to loosen up and have a life, and all she wants is for him to go home so she can get back to business. Though it does lead to a happy ending, the journey is full of absurd scenes and uncomfortable moments.
Posted by Jill Boniske on March 14, 2017
French writer/director François Ozon has made some of my favorite films these last few years. With The New Girlfriend, In the House, and Potiche he’s shown himself to be very adept with comedy and unusual situations. But with his new film Frantz, he enters the realm of historical drama and shows he is equally skilled in more serious films. A semi-remake of Ernst Lubitsch’s Broken Lullaby, it’s set just after the first World War, in a small German town. It’s the story of Anna (Paula Beer), a beautiful, young German woman whose fiancé Frantz (Anton von Lucke) died in the war and Adrien (Pierre Niney), a sad young Frenchman, who comes to town having been close friends with Frantz in Paris before the war. She discovers him as he is laying flowers on Frantz’s grave, and he becomes a source of happy memories for her and for Frantz’s grieving parents.
Cinema Clash podcast: Kong Skull Island; The Ottoman Lieutenant; The Last Word; Neruda; The Marseilles Trilogy
Posted by Hannah Buchdahl on March 11, 2017
On this edition of the Cinema Clash with Charlie and Hannah: An epic monster movie that’s thin on story but big on spectacle; a love triangle wrapped in a weak war drama set in the Ottoman Empire; Shirley MacLaine gets the The Last Word in a film that Charlie detests and Hannah struggles to defend; a Chilean poet-turned-politician gets the fictionalized biopic treatment; and not one, not two, but three French films for the cinephilic Francophile (aka Charlie). Ooh-la-la! Listen now, or download for later!
Posted by Hannah Buchdahl on March 4, 2017
On this edition of the Cinema Clash podcast with Hannah (Mainstream Chick) and her movie nemesis Charlie: A grim final farewell to Logan; Table 19 serves up some lukewarm wedding comedy; Before I Fall aims for the YA crowd; Land of Mine wins Charlie’s vote for best foreign language film; My Life as a Zucchini (Ma Vie de Courgette) offers up a smart, animated tale about orphans, not veggies; and Hannah mixes up her mammals. #oops #BeerFail #WhatIsAWolverineAnyway?
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Posted by Hannah Buchdahl on March 3, 2017
On this edition of the Cinema Clash with Mainstream Chick and her cinema nemesis Charlie Juhl: The best movie of 2017 so far. You’ll want to Get Out and see it! Plus: the (pooper) scoop on the Chinese-American computer-animated comedy Rock Dog; the philosophical underpinnings of Kedi, a documentary about cats in Istanbul; the bitter truth about Bitter Harvest; a mockumentary drama about a struggling comedian looking for his big break in Punching Henry; a few wayward Oscar predictions; and beer. Let the clash begin!
Posted by Hannah Buchdahl on February 21, 2017
Logan could be one of the most divisive Marvel movies of all time. Hardcore fans of the Wolverine mythology may appreciate this dark, R-rated send-off to the most iconic and sardonic of the X-Men superheroes. But I was not prepared for, and did not enjoy, the grim final farewell (or so it appears) to Logan/Wolverine, portrayed for nearly 20 years by the multi-talented and seemingly ageless Hugh Jackman. I’m not a huge X-Men fan (I prefer the Avengers), but I’ve always had a soft spot for the bitter, sexy, ripped, self-healing Wolverine who was blessed and cursed with immortality and killer claws. This Wolverine is different. He’s bitter, aging, self-loathing, and just no fun at all. Apparently, that’s what the filmmakers were going for. And that’s what some film critics and fanboys are raving about. But I don’t like hyper-violent, bloody, raw, and depressing. Especially in my Marvel movies. Deadpool earned its R-rating with unexpectedly entertaining raunchiness and wit. Logan gets its R-rating from a string of curse words and a very high body count. Heads will roll… literally.
Posted by Hannah Buchdahl on February 17, 2017
This is a really great week to catch up on one (or more) of those Oscar-nominated movies that are still in theaters or available on DVD or VOD. Why? Because, comparatively speaking, the new releases are rather dismal. Granted, I didn’t have a chance to see the new Ice Cube/Charlie Day comedy Fist Fight, about a couple of high school teachers engaging in a good ol’ fashioned afterschool throw-down. But I’m going to go out on a limb and surmise that you can save that one for a rainy day or a plane ride. It’s probably mindlessly entertaining. Can’t really say the same about The Great Wall or A Cure for Wellness. But if I had to pick among those two, I’d definitely go with The Great Wall because at least it’s got Matt Damon (Jason Bourne, The Martian) — and cool views of one of the great wonders of the ancient world.
Posted by Jill Boniske on February 13, 2017
He’s back! And he’s still a bad ass killer. I called the original John Wick stylishly violent, and this one takes it up another notch, both on the style and the violence. But it’s still the story of a sad and weary hit man who’s brought back in to the violent world he’s trying to leave behind. Keanu Reeves stars as Wick and he’s just as fun to watch as the last time.
Posted by Hannah Buchdahl on February 10, 2017
Defending this movie is like Donald Trump defending one of his executive orders. The built-in base will eat it up. Others will accept it, with reservations. And everyone else will run for the cinematic equivalent of Canada. So the bottom line is this: If you’ve read the books (as I have) and were at least okay with the first film (as I was), then you may feel compelled to escape back into the unconventional romantic fantasyland that is Fifty Shades Darker. It’s not a must-see now, unless you’re into instant gratification, but it is essential to the climax of the film adaptation of the steamy story arc detailed in the best-selling trilogy by E.L. James. Part three, Fifty Shades Freed, has already been shot and is scheduled for release next Valentine’s Day, 2018. So you have a year to debate your inner goddess (as Anastasia would say) on the merits of seeing this relationship through to its happily-ever-after. This is, after all, nothing more than a risqué fairytale written –without apology– in the vein of Twilight fan-fiction. Shakespeare it aint. But it is a very lucrative enterprise. So somebody’s making out.