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.
The single best performance I watched in 2016 was Sarah’s, but don’t tell her. It wasn’t polished, for god’s sake, but it had an immediacy that knocked me, and lots of other people, off our feet.
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.
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.
We’ve been conditioned by teen sex comedies and sports films to expect certain milestones and story beats – Linklater suggests some of those with a wink, before changing tack. The result is a genial, mostly happy film – it reminded me of George Lucas’ American Graffiti…