Archive: 2022
German film director Werner Herzog often reminisces of the lost art of being able to trust our eyes. How everything we see in modern movies is informed by digital manipulation, sophisticated editing, and the sheer total commercial management of putting something on the screen. He laments the early days of cinema, where what was projected was so believable that, so the stories go, audiences would flee terrified from their seats at the prospect of a train coming towards the camera. Somewhere along the way, we lost this terror.
Irma Vep is the film lover’s dream – to get to watch a fictional production with all the troubles and beauty of the filmmaking process put on full display.
When older generations say that they don’t make movies like they used to, they’re talking about Sergei Bondarchuk’s War and Peace films, released between 1966 and 1967. An absolutely breathtaking series of four individual movies spread out over seven hours, they recount Tolstoy’s epic tale of Russian aristocratic and military perspective during the Napoleonic invasion of the early nineteenth century in elaborate, authentic and highly orchestrated detail.
From the first release of promotional materials, it was already unclear what the target audience would be for Lyle, Lyle, Crocodile. Based on the beloved children’s book, the film seemed to want to bring in too many people at once: adults with an affinity for big name actors like Javier Bardem, musical theater folks with an affinity for Benj Pasek and Justin Paul, kids with an affinity for CGI-ed crocodiles, and … the one person out there who thought the crocodile should be voiced by Shawn Mendes?
I watched Multiverse of Madness, also called MoM by some fans, with great excitement, only to be let down in many interesting ways. But, nevertheless, the film drastically shifted the trajectory of the MCU and is vital regardless of its divided reception.
Attempting to adequately interpret David Lynch’s Twin Peaks is a fool’s errand, but since its release in 1990 it hasn’t stopped thousands of well-intentioned sleuths from trying. The attempts to connect the numerous disparate threads of story and character with broader themes of anything from societal collapse, the interpretation of dreams, alternate realities and autobiography itself have far eclipsed the original two seasons.
This visually striking film isn’t as scary as the trailers make it out to be, but instead it is a story about family bond, the history and importance of the black community in filmmaking, and of course, alien invasion.
If you were driving down a highway and saw a sign that said “Honk for Jesus” would you honk? Would you go to a church that advertised itself? Would you even go to a church that was located on a highway? Despite being non religious, I considered these questions while watching the climax of Honk for Jesus, Save Your Soul, directed by Adamma Ebo, as Trinitie Childs practically begs the passersby to honk for her sanity (and Jesus).
In late 1969, Stanley Kubrick was busy. His career-defining 2001: A Space Odyssey had been an enormous directorial and technical success, he was in the middle of editing the dystopian A Clockwork Orange, and beginning to circle what he thought would be his next grand project, a definitive biographic story of Napoleon. Like all Kubrick projects, especially those following 2001: A Space Odyssey, the process for developing the script, and the sheer effort which went into the production was total. For years, Kubrick had planned to create a biographical film of Napoleon’s life, and had engaged hundreds of production staff in gathering as much information as possible about the era. From costumes, interiors, historical records, surviving written evidence, academic historiography, everything was completely exhaustive, and all of it would go into the creation of what Kubrick believed would be one of the greatest historical films ever made.
Morbius, released in April 2022 and starring Jared Leto as the titular character, has been the subject of many viral Twitter threads…if only because it somehow became a meme completely unrelated to the plot of the movie itself. To be completely honest, I don’t remember watching most of the movie. In fact, I fell asleep multiple times, including towards the very end. So, this review will consist primarily of the little I still remember, why I fell asleep, and why its main character has become a highly successful meme.
A blazer. A brooch. A tie. Even an astronaut suit. These are just some of the items worn by Gabby Giffords and her husband, Mark Kelly.
At first glance, Giffords and Kelly are perhaps best described as a political power couple that have spent the last decade in the public eye, largely due to personal tragedy. But in the new documentary, “Gabby Giffords Won’t Back Down”, it becomes clear that they are also heroes in disguise - two individuals who have found joy in life and love despite all odds being stacked against them, and who have dedicated themselves to making Americans’ lives better every single day.
The icy Leningrad wind blows through the soulless, gray buildings. The equally soulless, gray people recovering from the immediate aftermath of The Second World War blow through the streets like torn pieces of newsprint. These frigid streets mask the squalid desperation of those who’ve survived, and look to make the transition into what will become the post-war Soviet socialist state. It’s a moment beautifully frozen in time, but also the moment we first meet Iya (played by the incredible Viktoria Miroshnichenko), frozen in place not by the weather, but by the temporary immobility of post-concussion syndrome. Her voice in close-up crackles and she trembles as her muscles spasm. All we hear is a distant ringing, and the drowned voices of the blurred figures she works with in the infirmary. The shot uncomfortably lingers. We are forced to watch ever closer, increasingly drawn into her suffering.
It’s rare to have out-of-body experiences, and it’s even rarer to have an out-of-body experience in anticipation of the actual out-of-body experience. I had several such experiences in anticipation of the 4K UHD Restoration Premiere of action epic Heat at the Tribeca Film Festival. The anticipation was a product of both seeing a movie that came so highly recommended and also getting to see in person revered screen legends Al Pacino and Robert De Niro talk about their craft and career. And it did not disappoint. Watching them I was not only transported at once to many of my favorite films but was able to understand the deep and painstaking filmmaking process that gave us so many timeless classics.
If you look at my track record of Moviegoer reviews, it should come as no surprise that I have been thrilled by the recent uptick in animated content across film and TV. Largely due to the COVID pandemic, studios and networks have begun investing in more animation projects due to their ability to be produced from home - and I certainly hope that the trend is here to stay! Not only because it means I might have more job options when I graduate (see, Penn? It’s possible to get a job that isn’t in consulting!), but because to me, there is nothing more joyous than watching an animated, family-friendly movie with everyone I love.
And just like that… I watched every episode of Sex and the City. I must be a really good judge on how to spend my time!
I think the best moments in movies are when it’s a cold, gloomy, rainy Sunday afternoon, and you decide to roll the dice on an independent movie at The Ritz based solely on the poster. You’re usually in there with a few other people, frequently older couples who smuggled in some sandwiches, perhaps also using the cozy embrace of the theater to get out of the elements. The theater runs through its usual collection of foreign language trailers, which often only serve as a great ‘wait… wasn’t he in that other thing?’ game that is guaranteed to torture you for the rest of the movie until you can safely put your mind to rest with some solid online sleuthing.
Every year, new best-selling memoirs are published, more and more of which are then turned into film adaptations. More often than not, these are inspirational tales of successful writers, doctors, or lawyers that are products of a broken family who overcame insurmountable odds. So you may be asking yourself, why exactly do we need another one? What makes this child so special? Why do we need The Tender Bar? Trust me, we all needed this movie. It shows us that certain qualities that society frowns upon can get us further in life than carefully following the rule book.
The best show of the year is an LGBTQ+ pirate rom-com. Our Flag Means Death tells the story of real-life pirate Stede Bonnet, the 18th-century aristocrat who gave up his luxurious life for an adventure on the seas. He earned the name “The Gentleman Pirate'' for his peculiar approach to piracy, building his ship the Revenge rather than seizing one by mutiny and paying his crew in wages.
Audiences have soaked up The Dropout and Inventing Anna because of the piece inside of them that craves seeing a woman in a position of power. I can’t blame them; I love seeing it too. But does our desire to see strong, independent women erase any shred of a moral compass that tells us when a woman’s actions are wrong?
Fresh has all the ingredients to be the perfect modern thriller. It’s a black comedy about the horrors of modern dating starring Daisy Edgar-Jones and Sebastian Stan. There are plenty of mundane horrors to be had in the dating world, but Fresh ups the stakes and throws a cannibal into the dating pool.
I want to preface this by saying that I do indeed know that the Fast and Furious franchise is incredibly ridiculous. The stunts and actions performed would never be able to exist in real life, simply because of the presence of gravity and the fragility of the human body. (I’m looking at you, fight scene between the Rock and Jason Statham). The simple fact that none of the actors have ever gotten a speeding ticket is incredulous by itself. However, that said, the franchise is one of my favorites in Hollywood.
I always think of Stanley Kubrick’s Barry Lyndon as the Kubrick movie everyone forgot. While it has all the signature trademarks of a Kubrick classic, from the emotional detachment that’s so cold it’s cool, to the innovative cinematic techniques, extreme points of tension and beautiful photography, it’s often eclipsed by his films that came before and after it.
One may be asking, why do we need another Batman movie if The Nolan Trilogy, especially The Dark Knight, still holds up? Well, we certainly did not need this movie, but I, for one, am thankful that we got it! Matt Reeves’ The Batman is a dark, suspenseful reimagining of the classic Batman storyline that features new interpretations of characters like Catwoman (Zoë Kravitz), The Penguin (Colin Farell), and The Riddler (Paul Dano).
It’s that time of the semester when everyone’s heads are buried in their books and hearts are buried in misery. But don’t despair! Here are The Moviegoer’s TV show suggestions to get you through the end of semester grind.
When I began learning more about the film industry in high school, I was surprised to learn that an artistic field–something I assumed would be stereotypically associated with women–was in fact dominated by white men. I remember reading about the hurdles that female screenwriters, directors, and producers faced to be given seats at the table, and being shocked that they had to overcome so much just to have their voices heard.
The dust blows forward and the dust blows back, but menace is in the air. Three gunslingers arrive at Cattle Corner, a train station in the middle of the Old West, hours from civilization in either direction, and they mean business. Their business is killing, and business is good.
Glitzy and glamorous romantic comedies are nothing new; we have repeatedly discussed in lecture how urban settings and upper class characters are a mainstay of the genre. Romantic comedies that feature working women have also become increasingly common since the shift of labor that occurred in the postwar era. But how often have we seen a rom com about a female international music sensation?
Only the Scream franchise would introduce the word “re-quel” – a term so cinematically dense – into its already meta screenplay and premise. I expect nothing less from a series that has psycho-analyzed the totality of the horror genre while simultaneously creating its own expansive, trope-filled storyline. And in an age of tired reboots and sequels of once original and groundbreaking cinema, you would think that the new Scream would be equally as tired, especially with the franchise being in the state it was in prior to this installment. But 2022’s Scream proudly proclaims that this reboot is exactly what the franchise needed.
I always forget how much I love Jean-Jacques Beineix’s 1986 Betty Blue. A perennial eighties student favorite, and often a gateway drug into modern French cinema, it has all the hallmarks of a movie which stays with you long after the credits roll. In my case, this has been decades, but I only recently watched it again after a very long hiatus. I still love it. Exquisite cinematography, the tempestuous, passionate, charged voltage of its two main characters, the haunting soundtrack, and best of all, just the wonderful original Philippe Djian storyline all combine perfectly into a tale of maddening, violent, deteriorating unraveling.
I like to think I have a special connection with Harry Potter movies: I watched them aged 9 before reading the books, and still have vivid memories of attending the first-day shows of Harry Potter and the Deathly Hallows Part 1 and Part 2. Watching the reunion not only made me more aware of that connection but also how so many others share that same bond. In many ways, Harry Potter has a unique fandom, born out of a pure childlike love for the wonders of magic and the simple yet powerful premise.
It’s Sweeny Todd meets Romeo and Juliet. It’s a fairy-tale, but how the Grimm Brothers originally imagined: a dark and gritty reimagination of an otherwise beautiful love story. A post-apocalyptic reinterpretation of a classic Greek tragedy is what comes to mind when I think about Hadestown. This grand musical tells the tale of not just one Greek myth, but two in a modern setting. It interweaves the story of Orpheus and Eurydice, two lovers destined to be drawn apart, and the story of Hades and Persephone, another pair of lovers with a complicated relationship.
Of all the movies you’ve ever seen, how many of them can you specifically remember? Not just when and where you saw them, but who you were with, maybe even where you were sitting and what you chose to eat. For me there’s a lot of nostalgia tied up with doing this. I remember my life changing as a four year old being taken to see Star Wars in 1977 by my dad, as a special afternoon treat away from the hospital where I was undergoing long-term treatment for a collapsed lung.
Instead of giving Clinton the spotlight, the story of Impeachment follows Monica Lewinsky (Beanie Feldstein) and her emotional turmoil as she became involved in the biggest presidential scandal of all time.
Bleak. Desperate. Violent. Acerbic. Mike Leigh’s Naked is as relevant in Post-Brexit Britain as it was almost thirty years ago upon release. It explores themes of misogyny, class, conspiracy and religion, and like most of Leigh’s films, refuses to resolve anything, leaving us to think about which side of history we want to be on. Filmed at the height of post-Thatcherite Conservatism, and in a particularly grim time for the country economically, culturally and with waning influence in the world, Naked could just as easily have been released this year to the same effect.
FOX’s newest comedy Pivoting, tells the story of three women in their thirties whose best friend Coleen, has just died. Awakened by the realization that life is short, they each decide to make big life changes.
Even in an era of reparation, celebrations of Empire are still remarkably commonplace for the English, and there’s a wealth of movies which still regularly air on British television that glorify its unsettling colonial past. The most common of these is Zulu (1964), which introduced Michael Caine to the world and depicts the bravery of around a hundred British soldiers in the overwhelming face of three thousand eponymous Zulu warriors. Quotes from the film have passed into common language, and even today it’s routinely held up as a model of Victorian colonial heroism and conquering of native resistance.
This is the moment we’ve all been waiting for. It's the final Marvel premiere of the year 2021. And most of all, it's the conclusion of the Marvel Cinematic Universe’s Spider-Man trilogy. No Way Home has become one of the greatest films that both Marvel and Sony have ever released - but I have got to admit, given the long, complicated history of Spider-Man films, it would have been very difficult for it to turn out any other way.
No Time to Die, James Bond's latest and Daniel Craig's last movie, starts with a phantom appearing out of the cold. It's there, in the window of a snow-covered cottage, then it's gone. The scene feels too picturesque to interrupt; we almost want to believe it was just a coincidence of the swirling snow. But a masked man appears at the window of a snow-covered cottage, and it’s undeniable. With tension building, a young Madeleine Swann tries to avoid an unseen killer. The scene closes with three ringing shots, but they come from Swann. It’s a tragic fate averted and innocence stolen. A satisfying arc for a Bond opening. But it's not actually over. What we see next is another reversal: a villain who saves an innocent life.
Last Night in Soho, a film directed by British filmmaker Edgar Wright, lives in between the 1960s and modern times in London, England. Starring staples of British stardom Anya-Taylor Joy (Sandie), Matt Smith (Jack), briefly Sam Claflin (Lindsey), and Thomasin McKenzie (Eloise/Ellie), this film follows the life of Eloise Turner, a young aspiring fashion designer with an infatuation with the swinging sixties of London as she navigates her extraordinary ability to body-jump into another young woman in her dreams.