Women talking. Men listening. Polley does an excellent job of centering the women’s stories while also, graciously, giving us a glimpse of an ally. The writing and performances brim with nuance and power; the soundtrack is sublime. The women’s circular, gradual journey towards a decision is mesmerizing. No political bullshit, no power-hungry posturing, no patriarchal red tape. Just raw, unfiltered dialogue, with hands on shoulders, songs in the air, and everyone from young to old with a voice.
Exquisite slice-of-life cinema: thoughtful camerawork, editing, and music, along with natural performances (the excellent McDormand blends in seamlessly with the non-actors) showcase the subtle beauty of weathered landscapes and faces, of aching reflections on the past and tender moments of small joys in the present, of both the practical and spiritual aspects to settling in and moving on. Either the hints of more pointed character work or those of corporate critique could’ve been expanded upon.
The Madagascar animals join a struggling European circus to get back to New York, but find themselves being pursued by a psychotic animal control officer. (IMDb)
More entertaining than ever: The increased “fish out of water” animals vs. humans antics make for loads of hilarious action set pieces (see the insane truck then plane escape from Monte Carlo), the goofy one-off bits are taken to another level (see DuBois’ rousing French song; Rock’s gut-busting Afro-circus bit), and the new circus setting provides two infectious feel-good musical numbers. The plot, meanwhile, continually takes wonderfully unexpected turns (see the poignant return to the zoo).
Set in Japan, Isle of Dogs follows a boy’s odyssey in search of his lost dog. (IMDb)
Awe-inspiring animation, as expected, with an amazing attention to detail (petals on noses, fur blowing in the wind), breathtaking landscapes (see the journey montages), a variety of unique shots (see the shadowy discussion in the bottle cave), creative storytelling devices (see the split-screens), and fun flourishes (see the sushi-making). A welcome surprise is the engaging hard-boiled political drama added to Anderson’s typically quirky comedy (the gossiping goofy alpha dog pack is great).
The Autobots learn of a Cybertronian spacecraft hidden on the moon, and race against the Decepticons to reach it and to learn its secrets. (IMDb)
A few new faces, a lot of the same old shit (cars, explosions, a model to take by the hand everywhere, a plot that’s cheesy and/or confusing and exposited by boring dialogue) with some new things to groan at (enough pop songs and product placement already) but some saving graces too (Sam’s restlessness, the Dylan twist, the hopeless feeling before the final battle–the latter of which finally paired the impressive CGI with some coherent and cool action sequences; see the glass building collapse).
A Hollywood fixer in the 1950s works to keep the studio’s stars in line. (IMDb)
Despite Gambon’s excellent bits of narration and Brolin’s classic-Coen-crazy central day-in-the-life plot thread, Hail, Caesar! still feels more like a series of skits than anything else-some of them bland (DeeAnna’s dilemma is forgettable), many hilarious (see Hobie on the set of Merrily We Dance; McDormand’s outrageous cameo) and entertaining (see Tatum’s song and dance number among the numerous 50s Hollywood tributes), but all of them feeling rather inconsequential by the film’s abrupt end.
A pair of young lovers flee their New England town, which causes a local search party to fan out to find them. (IMDb)
The beautiful forested island scenery dotted with hip 60s aesthetic (hello, portable turntable) paired with Anderson’s impeccable visual flair and love for detail is a match made in movie heaven. Sam and Suzy, meanwhile, lead an elope plot that is as captivating (the flood side-story adds a great sense of impending doom to the forbidden love; Desplat’s mournful score is wonderful) and tragic (the leads’ parent issues add great depth) as it is cute (see the book-reading; culminating beach shot).
A high-school boy is given the chance to write a story for Rolling Stone Magazine about an up-and-coming rock band as he accompanies it on their concert tour. (IMDb)
In light of the quick and witty opening (Deschanel and McDormand have great mom-daughter chemistry) and satisfying end (“There’s still hope for you”) the middle feels a bit messy and tonally inconsistent (the airplane scene was hilarious but could have been a great serious moment), but probably appropriately so, given the film’s coming-of-age plot and wild rock ‘n roll tour setting. Themes of love, integrity, and fame pop in and out of the busy script–interesting, but not always fully impacting.
Jerry Lundegaard’s inept crime falls apart due to his and his henchmen’s bungling and the persistent police work of the quite pregnant Marge Gunderson. (IMDb)
The bleak snowy setting is perfect for this tightly spun tale of cold-blooded murder (see the red on white in the chilling wood-chipper scene). The three well-acted main players each add their own engaging element to the mix: The anxious Jerry a compelling character deterioration; the volatile Carl and his silent thug both odd-couple comedy and brutal violence; the down-to-earth cop Marge both slick smarts and small-town sweetness (“There’s more to life than a little money, you know”).
A fictionalized account of the first major successful sexual harassment case in the United States — Jenson vs. Eveleth Mines, where a woman who endured a range of abuse while working as a miner filed and won the landmark 1984 lawsuit. (IMDb)
Theron melts into her character here, displaying with ease both Josie’s brokenness and courage. Her experiences of abuse and her lonely fight for her rights are tough to watch but are thoughtfully shown, as picturesque scenes of the equally isolated Minnesota countryside and its bleak mines punctuate her story along with clips of her eventual court case. The supporting cast here is impeccable and solidifies this moving film that comes to a satisfyingly redemptive and tear-jerking conclusion.