film criticism by maryann johanson | celebrating 25 years: 1997–2022
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.
Ugly, garish, anachronistic like a small mean child playing with matches, and completely lacking in anything Robin Hood–y: there’s no fun, no romance, no virtue. Instead? Bizarre “aesthetics” and even worse politics.
Two fun characters played by two great actors with fantastic chemistry together go in search of a movie, and — spoiler! — never quite find it.
It’s all rather implausible and hugely melodramatic as it milks ham-fisted histrionics from high soap opera. A pitiable excuse for a movie.
When movies like this star the likes of Liam Neeson, they open on 3,000 screens. It’s difficult not to see racism and sexism in the disparity.
When director Crowe sticks to historical adventure, his film is tense and exciting. But it lacks a sense of magic that it needs to make it fully engaging.
A Biblical action disaster fantasy epic that is completely bonkers, endlessly entertaining, and actually religious in that inspiring-and-instructional way.
A leaden, charmless movie that is unable to commit to its own fantasy. So implausible that even Colin Farrell’s own Irish accent sounds fake.
Paramount is hoping to sell Darren Aronofsky’s Noah to both secular and religious audiences. This’ll be fun to watch…
Sly, sometimes funny documentary version of Bottle Shock, with China playing the role of 1970s Napa as it creeps up to smack the snooty Old World wine snobs.
