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I don’t see how the astonishing “Opera,” by Erick Oh, doesn’t win the Oscar for Best Animated Short. This is a stupendous achievement, a cartoon clockwork depicting life, the universe, and everything.
As stuffed with soap-opera clichés as its cinematic precursors, but this is nevertheless a solid and diverting rescue procedural… and it’s somehow even more shocking for how mundane its disaster is.
Just because a tale is science fiction doesn’t mean that plausibility and cohesion are not required. Yet we can see the narrative strings pulling along the puppet-characters, and in an ugly direction.
A wonder of emotional claustrophobia and narrative economy. Rachel Sennott is delightfully caustic in this painfully poignant, dryly funny portrait of a deeply awful moment of young adulthood.
Everything a monster movie needs: Monsters, natch. Cute kids who Know Things. Nerdy-hot scientists. Spectacular sci-fi visions. Humor but no cheese. Warmth but no schmaltz. And a superb green message.
The Disney paradigm is hard at play again here, its familiarity offset by its inspiration in Southeast Asian culture and mythology. Sweepingly told, gorgeously animated, and audaciously optimistic.
A deeply compassionate, deeply unnerving portrait of a man suffering from dementia and losing his grip on reality. The empathy machine of cinema has rarely been put to such uncomfortably intimate use.
A bittersweet, multilayered vérité portrait of the street dogs of Istanbul. Startlingly immersive, howling with moral questions about what we owe these creatures of intelligence, dignity, and feeling.
Ejiofor and Hathaway are game, but they’re grasping for something solid, and don’t find it. A deeply unsatisfying novelty artifact of the pandemic that fails to create a necessary sense of transgression.
The internal monologue that modern women have with ourselves gets externalized in this audacious and absolutely brilliant dramedy. Poignant, vulnerable, and almost shocking, in the best possible way.
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