moviereviews
Beverly Hills Cop became the most successful cinematic showcase for Eddie Murphy’s talents, but it wasn’t designed for him. It was conceived as a straight-forward Sylvester Stallone vehicle, and it remained that way until just a few weeks before filming began, when Stallone dropped out and Murphy subbed in at the last minute. The conceit wound up working better with Murphy than it ever could have with Stallone, because as an Eddie Murphy movie, Beverly Hills Cop’s text and metatext fell perfectly into sync. Instead of Stallone in yet another macho cop movie, BHC became Eddie Murphy in a Sylves...
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Everywhere Maxine goes, men recognize her — but only men. No wonder; Miaxine is a porn star and men are her target audience. But recognition by skeezy dudes is not what Maxine craves. She wants to be really famous. She often repeats a mantra: “I will not accept a life I do not deserve.” And Maxine is firmly convinced that she deserves more. One wonders whether there is a little of Maxine’s creator, Ti West, in that sentiment. In his latest film about her — his third to date featuring his smoldering starlet, Mia Goth — West has a frustrated horror director, played by Elizabeth Debicki, announce...
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A film critic must be able to receive criticism themselves. And if you review kids movies, odds are you will hear the same criticism one or two thousand times… “It’s a movie for children, not for adults, much less critics. So who cares what they think?” Now I should say first of all: I care. A good film critic knows way more about movies, even kids movies, than a kid. For one thing, they’ve seen a lot more of them. They can put a new movie in a historical context, analyze its themes, consider its visual style, and examine its vocal performances. Even if they’re not the film’s target audience. ...
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The first time I remember feeling anxiety I was 11 years old. It was the last day of sixth grade —the last day of elementary school period — and kids were signing each other’s yearbooks. I had a crush on the girl I had sat next to in fifth grade English, and I really wanted her signature. There was just one problem: I had no idea how to ask for it (or, for that matter, how to talk to a girl in any other context). Short, awkward, and weird, I had recently come to the shocking realization that I was a deeply uncool human being, and I was convinced I was especially unappealing to members of the o...
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Bad Boys: Ride or Dieopens with a credit that calls it “A Don Simpson / Jerry Bruckheimer Production,” which is a particularly impressive feat since Don Simpson died in 1996, less than a year after the release of the original Bad Boys. The involvement of a ghostly producer sort of suits this sequel, though, which concerns itself with — of all things! — the possibility of higher planes of spiritual existence, along with numerous scenes where the heroes receive messages from beyond the grave from their long-dead boss. These are not necessarily elements one expects from the third sequel to a Mich...
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The show’s title card simply reads The Acolyte. No mention of Star Wars. And in the lead-up to The Acolyte, Disney and Lucasfilm have emphasized how different this Star Wars show is from all the previous ones on Disney+. It is set 100 years before theprequels, in a time period never explored in live-action before. Instead of linking back to the films through preexisting characters and locations from earlier films or shows, The Acolyte introduces an entirely new cast, exploring a galaxy with no Empire, where the Jedi are in power and the Sith are virtually nonexistent. Where all of the previous...
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There is an old saying about prequels: If the material in them had been genuinely important in the first place it would have been part of the original film. By their very nature, prequels are narratively superfluous. Furiosa: A Mad Max Saga certainly is — although it also proves quite conclusively that a film can be narratively superfluous, viscerally exciting, imaginatively designed, and sick as hell all at once. For two and a half hours, the movie unfurls the tragic early years of the true hero of 2015’s Mad Max: Fury Road: Imperator Furiosa. Decades in the making, but spanning just a couple...
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IFis the sort of prodigious failure that only a very successful filmmaker can create. Only a director with a track record like John Krasinski could convince a studio to bankroll a film this egregiously saccharine and devoid of drama, and only a guy with a ton of pull in Hollywood could to recruit so many A-list stars to appear in it. Krasinski’s last two movies as a writer and director, the first A Quiet Place and its sequel, grossed more than $630 million for Paramount. They returned the favor by funding IF. The title is short for “imaginary friend”; for reasons the film does not explain, the...
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Kingdom of the Planet of the Apeswas almost a great movie, and you can see the contours of its greatness through the cracks of the good movie that it is, a bit like spotting the buried ruins of the human world beneath the overgrown trees and vines of the film’s ape civilization. This latest Apes — a direct sequel to the previous Planet of the Apes trilogy that also functions as a kind of soft reboot of the concept — starts off slow and takes its time. Instead of the epic planetary battle promised by the title, its scale is intimate; one ape’s personal journey to find his family, and the relati...
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The Fall Guyis a romantic comedy with two love stories, one happening onscreen between an ambitious director and a daring stuntman, and another happening behind the camera between the ambitious director of The Fall Guy and his crew of daring stuntmen. They’re both quite satisfying. Onscreen, Emily Blunt and Ryan Gosling have warm, playful chemistry as the director and the stuntman who can’t stop flirting even as the former repeatedly slams the latter into a rock wall over and over. We like watching these two characters work together and we love when they fight in that playful way that in the m...
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