The filmmaking duo behind Haunt (2019), Scott Beck and Bryan Woods, pivot from horror to sci-fi/fantasy in their latest flick, 65. The film brings a futuristic edge and a time travel plot to the prehistoric period, pitting Adam Driver against dinosaurs in a lightly tense family-focused race-against-the clock thriller. It’s nothing new or particularly exciting, but it’s enjoyable enough dumb-fun.
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Writer/director Noah Baumbach tackles Don DeLillo’s mid-80s postmodern masterwork, White Noise, in his most ambitious film to date. Although he struggles under the weight of this purportedly “unfilmable” novel’s heady themes and concepts, Baumbach faithfully captures the book’s essence and commendably brings it to life with a great deal of inspiration and enthusiasm.
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Ridley Scott drops his second film of 2021 with House Of Gucci. Inspired by the shocking true story of the family behind the Italian fashion empire, this elegantly conventional biopic is filled to the brim with vibrant performances and depicts one of fashion’s biggest murders.
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The Last Duel marks one of two Ridley Scott releases we got in 2021 — and if you want our opinion, it’s the better of the two. The film is a wieldy medieval drama that’s made palpably modern with its #MeToo bend. With a Rashômon-inspired narrative structure, The Last Duel effectively ruminates on the subjectivity of Truth, gender roles, and egomania.
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Writer/director Noam Baumbach follows up 2017’s The Meyerowitz Stories (New and Selected) with something even better. In fact, Marriage Story may just be the greatest achievement of Baumbach’s nearly 25-year career. The film is brilliantly acted, masterfully directed, and wonderfully written, offering incisive, heartbreaking and heart-mending takes on love, life, and the dissolution of the ties that bind us.
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Spike Lee is back to drop another joint on us — his best and most important film since Do the Right Thing — and he's angrier than ever. BlacKkKlansman seeks to demonstrate the lack of progression that America has had over the last 60 years, and it does so with furious gusto, finding Lee at his most potent, topical, satirical and controversial.
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Ever since the debut of A New Hope, the Star Wars franchise has built itself a comfortable formula that it’s two trilogies have used for success. With that in mind, it’s easy to anticipate that we’ll fall into the same pattern with the the latest trilogy, but that's not the case with The Last Jedi.
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Hollywood hatchet man Steven Soderbergh emerges from a brief hiatus ("retirement" seems too strong a word) with the southern fried heist film Logan Lucky, which feels like a mixture of Ocean's Eleven and The Dukes Of Hazzard. The film is star-studded and packed a little too full. Mostly, it's a mildly funny satirical caricature of the south wrapped as a heist film with far too many moving parts to completely keep up with or care about.
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