film criticism by maryann johanson | since 1997
Revisionist tale of the Australian folk hero rages against the dark forces that shaped him: emotional and economic neglect and abuse forged in patriarchy and colonialism. Electrifyingly punk and vulgar.
Messy, furious, sometimes at odds with itself, this tale of documenting a powerful man’s sexual intimidation of a vulnerable woman is absolutely necessary, full of a rage that is absolutely vital.
Quietly savage, weirdly funny, this feminist take on crime noir is ferocious in a way that only slowly reveals itself. Conflict and compassion wax and wane in a mystery that isn’t quite what it seems.
Based-on-fact drama puts the focus where it rarely is onscreen: on women who are victims of male violence. Yet a terrific central performance and an abundance of empathy cannot overcome its clichés.
My pick: The gorgeous “Brotherhood” opens up reductive notions of Middle Eastern cultures in the Western imagination while telling a moving story of family and forgiveness that is quite universal.
Behold ladyrage given full candy-colored, sparkle-sprinkled voice in an ironically comical spectacle: Haha, isn’t this delightfully absurd? Or is it? This is kidding-not-kidding on celluloid.
Guy Ritchie ups his game on his signature subgenre with a hilariously sublime crime comedy that acts as mirror on the legit world and oozes with crackling cynicism about culture and politics as well.
There is real cinematic tension in this own-worst-enemy tale of addiction and its ever escalating series of bad bets. But Adam Sandler’s unfettered arrogance renders it far from endearing or fun.
An entirely entertaining murder-mystery jape; dryly funny, deliciously retro yet decidedly modern. Whenever you think you’ve got it figured out, it trips you up again… and you love it for doing so.
Bland, predictable cop and crime clichés lacking all urgency and any of the claustrophobia that should come from its high-concept premise. Shutting down Manhattan has zero impact on anything here.
