Thankfully, Bradley Cooper's directorial debut and exploration of this well-worn material is not only an unqualified cinematic success on a grand, wide-screen scale but a strong, valiant case for why movies, especially those coming out of major studios, can still matter as a mass art form.
In this installment of Ticket Stubs, we look at a recent no-holds-barred prison movie, David Lynch's most iconic work, and the definitive monument to repressed 50s angst.
Take 2 of my semi-regular column features a forgotten Clinton hatchet job from the 90s, Redford and Streep traipsing around Africa, and one of Spike Lee’s most underrated films.
However, the movie is memorable in its own glib, idiotic way, thanks in no small part due to its cast of characters who are either all too oblivious to their relationship to the heights or bowels of late capitalism or, as we may discover, all too conscious of their place in the cold hierarchy that represents Corporate America.
Welcome to Ticket Stubs, a new semi-regular column where I will be recording some brief thoughts on a series of movies I watched for whatever reason recently. This informal diary is not meant to recommend or dissuade you from seeing the movies yourself but rather record some stray observations I found during my own viewing... Continue Reading →
Against such weighty odds, with the fate of the universe and the company's creative identity hanging in the balance, Infinity War delivers not only the finest iteration of the superhero squad but one of Marvel's very best films in its history, an effort very much cognizant of the interpersonal history of its characters and the company's legacy as a canvas for big-budget entertainment that validates the old expression that some things really do get better with age.
Though discrepancies of race, sex, and gender surely do exist, they appear to be weakening on a yearly basis. If this decade is remembered for anything it will be in the creation of a more democratic system that have allowed artists like Jordan Peele, Dee Rees, Greta Gerwig, and Patty Jenkins to not only survive but flourish.
In many ways, "Heaven Can Wait" serves as a slight corrective to these previously masochistic self-evaluations. Co-directed with his co-star Henry, Beatty pivots away from the critical atmosphere of the moment into traditional romantic comedy territory that gives direct plot reasoning for his nervous and addled performance style.
As the counter cultural movement of the nineteen sixties threatened to topple dominant institutions of power, art served to both encourage and reflect the greater scope of the conflict. While the struggle against the establishment turned out to be ultimately too broad for extensive change, the creative expressions from this period still stand out from... Continue Reading →