film criticism by maryann johanson | celebrating 25 years: 1997–2022
This otherwise gorgeous nature documentary is marred by the banal self-therapy of its human protagonist… and he is nowhere near as interesting as the manic pixie dream octopus who changes his life.
Come on down for a gen-u-ine American dystopia at the crossroads of end-of-empire and late-stage capitalism. Chloé Zhao’s outsider’s eye is hugely sympathetic but unhindered by knee-jerk patriotism.
The series’ saving grace is that, with humor and heart so beautifully wise and stunningly rendered (CGI pun intended), even as returns diminish, a new chapter is still warm and smartly entertaining.
Has a verve rare in big-budget movies at the moment. Fun and fresh and legitimately engages with its source material on the levels of story, visuals, and mythology all at once. It feels like discovering storytelling anew.
The tune may be familiar, but it is performed with virtuoso style, its central characters drawn with wit, charm, and complexity and brought to life via the absolutely gorgeous performances of its stars.
A quiet yet resolute portrait of bravery and resilience in the face of unconscionable bigotry, and distressingly moving. Specific yet universal, and wonderfully human.
Perfectly illustrative of the serendipitous nature of documentary filmmaking as it pivots from a personal investigation of doping in sports into a thriller with global geopolitical ramifications.
This delicately realized portrait of an intellectual Tehran couple could easily be taking place in New York, London, or Tokyo. The empathy machine strikes again.
Luminous and plaintive, Moonlight is emotional virtual reality, transforming a unique human experience into something universal and unforgettable.
Marvelous. A bouncy comedy mystery adventure parable in a fantasy world meticulously and cleverly conceived and gorgeously realized. I adore this movie.
