Movie reviews by
2 (out of 4)
The funny thing about feminist cinema is its prime examples are never self-declared but self-evident. At the very least if a woman's picture (as a man in the '40s might refer to it) was a financial failure the director didn’t blame it on absent misogynists – sorry but if this Charlie’s Angels flops isn’t it the missing ladies in the audience who are the real problem? And when novice filmmaker Elizabeth Banks, whose only directorial credit is shooting Kay Cannon’s script of Pitch Perfect 2, is hardly some kind of Kelly Reichardt or Greta Gerwig in waiting and the film is so instantaneously forgettable, there's really nothing to defend or get worked up about.
K-Stew is trying but frankly I’ve never found her notion of charisma more excruciating to behold. If there isn’t lame, trifling humor – which doesn’t jar at all with the blockbuster big boy pants the film yanks on when the action drops – then the super woke dialogue is literally reciting gender statistics. Gee, I bet women feel so empowered! Jasmine from the new Aladdin (Naomi Scott) is an idle audience insert while the utterly winsome Ella Balinska is misspent when she’s good enough to be bolstering Bond or Mission: Impossible.
I never thought I’d look back at the McG Angel’s flicks with nostalgia and admiration, but besides Drew Barrymore, Cameron Diaz and Lucy Liu playing more compellingly capable heroines, those two dumb wire-fu parodies at least had a semblance of stylization and adequate proportions of fetishism and feminism. All 2019’s reboot has is Patrick Stewart.
Ford v Ferrari
3 (out of 4)
This is what they call a good old-fashioned time at the movies – nothin’ fancy at all. Technical prowess, sprawling historical illumination, thrilling tests of human endurance and seasoned actors bringing legends to life – if not for those things Ford v Ferrari somehow doesn’t abandon the common yokel's grasp of the joint business / engineering competition or insult your intelligence with too much superfluous open-road navel-gazing. Basically everyone in the audience has a hook, especially with such phenomenally edited action, but FvF is foremost steeped in emotional earthiness.
James Mangold ventured down the biopic path with Walk the Line to similarly well-rounded success (healthy awards recognition and decent treatment at the box office) while more current detours to comic books with The Wolverine and Logan did not erase but fortified his craft. The friendship between Carroll Shelby and Ken Miles naturally clicks the film’s disparate dramatics into place. Christian Bale is as good as some of his defining performances (American Psycho, The Machinist, The Prestige, Rescue Dawn) and Matt Damon reminds you why he was ever such a big deal to begin with. It's no surprise the most interesting part of the racing movie is the human friction – regardless Ford v Ferrari still has true momentum no matter how fast things are moving.
The Good Liar
1 ½ (out of 4)
The employment of standard narrative discipline usually conjures the expectancy of forthcoming scenes, but there are some movies so transparent, predictable and pointless it's actually befuddling to picture people enjoying such stuffy schlock. No matter how many movies I’ve seen I’m usually the one playing the fool when it comes to twist-laden attractions like The Good Liar, but damn – I could call every listless shot of this overstated bore.
So I'm admittedly not so clever but there was only so much to be done with the arrangement of dueling elderly deceivers. Let me give you a hint – whoever you think has the upper hand (wait for it) doesn’t. The Good Liar has a pinch of merit as opposing legends of stage and screen Ian McKellen and Helen Mirren make the viewing compulsory and… that’s about it. It’s a pity the tacky novel wasn't restricted to the rotating rack at the airport kiosk as culture intended. Something tells me the hidden #metoo / Nazi-revenge double threat helped keep this snooze in the creative conversation.
To keep it brief...
Soon to Come:
The Invisible Man
like overdue takes on
"So what've you been up to?"
and I escape real good."
- Inherent Vice