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Hollywood has lost the ability to buckle swash. Guy Ritchie, shamelessly stealing from Indiana Jones, gives us a charmless treasure hunt that feels honed by corporate focus groups and cinematic SEO.
Wildly primal, big and bold, fueled by pain and rage, by community and family, throbbing with love and sex and joy, infused with magic. A sumptuously textured, unmissable howl of a passion project.
Colorful but flattened and flimsy, which really grates next to how abundantly, uniquely original the first two movies are. Suffers greatly from the lack of their deft whimsy. It’s, well, bearly there.
2013’s Her is on Max in the US, Prime in the UK.
1928’s “Steamboat Willie” is streaming globally on Disney+.
Traditional folk music and beautifully animated mythic motifs may be rightfully validating for homegrown Ukrainian audiences, but there’s little else beyond that novelty to capture others’ imagination.
The Banshees of Inisherin, Everything Everywhere All at Once, and Women Talking tie for the most awards, at four apiece.
And if it is going to appear there, does the museum have an obligation to engage in robust criticism of it (not necessarily negative, just analytical) to avoid it feeling like, as a New York Times critic termed it, “a sponsored content post”?
Fairy tale goes jukebox musical with a feminist, gender-fluid spin. Throws irony and sarcasm at heterosexuality, patriarchy, even monarchy. Pretty darn fun, with a sweetly spunky Ella in Cabello.
Wonderfully escapist, dripping with magnificently congenial charm thanks to the comic chemistry of Dwayne Johnson and Emily Blunt. Plus it’s sure to enrage people who use “woke” as an insult. Yay!
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