THE FANTASTIC FOUR: FIRST STEPS Review

Kevin Feige and Co. Begin a New Phase of The Marvel Cinematic Universe with Their First Family in One of the Better Origin Stories the Studio has Produced.

SUPERMAN Review

James Gunn Begins his DC Universe by Reminding Audiences Why the *Character* of Superman Matters as Much as the Superman character in Today’s Divided Climate.

JURASSIC WORLD: REBIRTH Review

Director Gareth Edwards and Screenwriter David Koepp know Story, Scale, and Monsters Enough to Deliver all the Dumb Fun Fans of this Franchise Expect in a Reboot.

F1: THE MOVIE Review

Formulaic Story and Characters Done in Thrilling Fashion Deliver a Familiar yet Satisfying Experience that will Inevitably Serve as Comfort Down the Road.

MISSION: IMPOSSIBLE - THE FINAL RECKONING Review

Director Christopher McQuarrie Completes Tom Cruise's Career-Defining Franchise with a Victory Lap of a Movie more Symbolically Satisfying than Conqueringly Definitive.

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Showing posts with label Katherine C. Hughes. Show all posts
Showing posts with label Katherine C. Hughes. Show all posts

ME AND EARL AND THE DYING GIRL Review

Everything about Me and Earl and the Dying Girl screams artsy film festival fodder. This isn't necessarily a bad thing, in fact a decade ago that description would have suggested anything but a bad thing, and yet there is such a stigma around films molded on the tendencies of Wes Anderson now that they've become ripe for criticism. What also doesn't help Me and Earl and the Dying Girl's case is the level of self-reference it operates within. At one point, how can we expect any person or movie to exist without a certain level of self-awareness when the environment we live in is a heightened social media one where each of us are called out for the cliché's of our life and yet, on the other end, there is still the viable option of embracing one's self or one's story wholeheartedly to the point the audience is enveloped in the earnestness. It's a tough choice to make and just because Me and Earl and the Dying Girl decides to go way in one direction doesn't immediately make it a recycled, overused picture that lacks real meaning or effect because the techniques it uses to convey it's story may no longer be as fresh or meaningful as they once were. This is the area where some seem to have accused the film of being trite or even irritating, but beneath all of the style that director Alfonso Gomez-Rejon has smothered upon Jesse Andrews quip-heavy screenplay adapted from his own novel I find it hard to believe anyone could justly deny the emotion and straight-up craft the film also packs into its running time. This brings us to the beginning of the film where our protagonist and narrator, Greg (Thomas Mann), can't decide how best to begin his story and thus debates between a trope such as, "It was the best of times, it was the worst of times..." or simply remaining in his head so as to guide us through his thought process. As the latter wins out we are given examples of what Greg might consider the best of times and what might qualify for the worst. Before springing into the title credits Greg looks to his left to see what would indicate that what he's recently experienced, what he's going to tell us about, were indeed the best of times even if he didn't realize it in the moment.