Aladdin (2019) movie review: cave of blunders
The romance lacks chemistry, and the villain lacks bite. It seems embarrassed to be a musical, failing to embrace the necessary ineffable daydreaminess. Somehow even more cartoonish as live-action.
John August
Frankenweenie (review)
The Tim Burton-est movie in a long while, not merely because it embodies all those wonderfully weird and humanist Burton attitudes but also because only Burton would think to make a stop-motion film in glorious, creamy, black-and-white.
Dark Shadows (review)
Hoorah for Tim Burton and the new nadir of narcissistic awfulness he achieves here. Dark Shadows dares to be nothing but the wisp of its own conceit.
Go (review)
So, Go’s three interconnected tales follow a diverse group of Los Angeles twentysomethings as their lives bang up against one another in a scenario that’s the 90s in a nutshell, from the Xer point of view: sex and danger that’s both exciting and terrifying (the clever script uses the word ‘go’ both in the imperative, let’s-get-out-of-here sense and also in the imperative, orgasmic sense, as a synonym for ‘come’). And is if to demonstrate typical Xer cynicism, it all happens while holly jolly Christmas passes by practically unnoticed in the background.
