Following his overly complicated spy thriller Tenet, Christopher Nolan returns to cinema’s with a booming biopic about the modern Prometheus, J. Robert Oppenheimer. Epic in scope but intimate in feel, Oppenheimer boasts Nolan’s most explosive ensemble cast to date and creates a stimulating historical thriller that rattles and shakes with compelling contemplation.
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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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Michael Showalter’s latest, The Eyes Of Tammy Faye, is a lightly kooky, holy rollercoaster of a biopic that’s bolstered by the commitment of its leads. Based of the 2000 documentary of the same name, the film dramatizes the well-documented life of beloved televangelists Jim & Tammy Faye Bakker, chronicling their extraordinary rise and their scandalous fall. While it proves to be fairly entertaining (mostly due to its performances), Showalter and screenwriter Abe Sylvia don’t go as far or deep as we’d hoped, culminating in a fairly conventional biopic whose story is better examined in documentary format.
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Finnish film director Dome Karukoski (considered to be one of Finland's most successful film directors) takes on the story of beloved author John Ronald Reuel Tolkien (J. R. R. Tolkien) in the biographical drama, Tolkien. The film captures the period milieu, but it lacks the emotional resonance and imagination necessary to do the subject matter justice.
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Don't Worry, He Won't Get Far on Foot chronicles the life of irreverent cartoonist John Callahan as he struggles to give up alcohol and accept his unfortunate situation after a drunken car crash lands him in a wheelchair. Adapted for the screen and directed by Gus Van Sant, this biopic (based upon Callahan's memoir of the same name) is littered with great performances, affecting sequences, and inspirational pep.
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The bar for figure skating films was relatively low before I, Tonya came along and triple-axeled all over the competition. The film didn't even need to stoop to bashing in the kneecaps of the other contenders either — there just aren't any films about ice skating to the caliber of I, Tonya. Unlike other figure skating films, it doesn't lend itself exclusively to just one genre and has a lot to offer just about everyone. It has a lot of fun embracing the irony and contradictions of the Harding/Kerrigan testimonies, and it's definitely worthy of the hype and praise surrounding it — it is, without a doubt, one of the most wild, comical, and entertaining experiences that 2017 had to offer.
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