I wish I’d seen La La Land a year ago. It would have made that moment at the end of the Academy Awards ceremony, when Faye Dunaway accidentally announced it had won Best Picture and the production team got up on stage and started making speeches and then it turned out Moonlight had actually won, so much sweeter.
I expect better movies will be made about the Obama years, but as one chapter in a first draft of history, The Final Year isn’t bad. If for no other reason, it silences the talking heads and lets us think for ourselves.
Moss Island welcomes a guest contributor.
At the end of the day, Melfi’s movie works, even if it’s a throwback to more “classic” biopic styles. That’s arguably appropriate, because this movie SHOULD HAVE BEEN made 50 years ago.
As a performer being honored, essentially, for her empathy, it’s entirely appropriate for Streep to highlight a performance anathema to her life’s work. In context, she was saying “performers have great power and great responsibility.”
Robert Zemeckis wisely recognizes that the heist is not the point of the story. The walk itself is beautiful. The creative team pays full homage to that act, and they’ll make you believe it too.
Ant Man was produced by Marvel cum Disney – it’s a surprisingly well-crafted piece of entertainment junk food that doesn’t quite evaporate afterward; it sits uneasy in the psychic gut, and you wonder why you kept going long after you knew you should quit.
Creator Gene Roddenberry summarized his idea as “Wagon Train to the Stars.” He imagined an Earth that had overcome hunger and poverty for all citizens, now traveling to other worlds to help others.
Fox did well in the first movie by staying out of the way of the comic high flyers. This time, he plays four roles, badly, and the others stay out of his way.
Robert Zemeckis and Bob Gale wrote a clockwork plot that is essentially a science fiction farce: it might be the definitive summer blockbuster.