Review: Last Christmas

by Chris Feil

A sure signal of the coming holiday season at the movies is the arrival of unpretentious lighter fare like Last Christmas. This year’s offering falls in line with the easy charms of such previous entries as The Holiday and Almost Christmas, but also arrives with a somewhat affably strange lump of ingredients. Inspired by the Wham! song and packed with a slew of George Michael songs, the Paul Feig-directed film is co-written by Emma Thompson (with Bryony Kimmings and Greg Wise) and offers up timely context within a classic romcom structure. It’s a sugar high of a movie that remains grounded in some substance, not exactly tidy but satisfyingly more than meets the eye.

Emilia Clarke plays the disillusioned would-be singer and Yugoslavian immigrant Kate, couch-hopping between friends that she quickly burns out with carelessness and working in a Christmas-themed giftshop. She avoids her family, particularly her domineering mother (also played by Thompson), and is increasingly testing the patience of her demanding but doting boss (Michelle Yeoh). Kate’s self-destructiveness comes after a serious illness has left her not with renewed gratitude, but with a diminished sense of self she has internalized into constant misbehavior. But her main challenger in the struggle comes when a charming man on a bike named Tom (Henry Golding) wanders in and out of her life.

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Review: Motherless Brooklyn

by Michael Frank

Edward Norton has accomplished many things. His first major film role in Primal Fear landed him an Oscar nomination. He’s acted in over 40 movies since, earning himself two more Oscar noms, a Golden Globe, an Emmy nomination, and dozens of awards around the globe. His accomplishments speak for themselves. Norton’s new film though, Motherless Brooklyn, won’t add much to that list, though, as he whiffs on a huge swing... 

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Review: The Current War (Director's Cut)

by Tony Ruggio

After more than a year of pre-release hell at the scissorhands of Harvey Weinstein and his terrible deeds, The Current War has finally seen the light of day. Tackling the industrial war over electricity between famed inventor Thomas Edison (Benedict Cumberbatch) and business magnate George Westinghouse (Michael Shannon), it’s a good story well told. Well, after a rough first half, anyway. The epic narrative is rushed and contracted in the early going, before evening out and focusing more on character in the final stretch.

The breakneck pacing actually does the film a disservice, as we barely get to spend time with Edison, Westinghouse, or their creations before director Alfonso Gomez-Rejon barrels forward to the next moment in history. Classical themes of greed, power, and loss are threaded like any other biopic of powerful men, but the greatest subtext lays therein, where the two men differed so greatly...

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Review: The Laundromat is an entertaining swing and miss.

by Tony Ruggio

Steven Soderbergh's fingerprints are unmistakable and unknowable simultaneously. He bounds from genre to genre, and studio to indie and back again with such regularity that he’s difficult to pin down. The only thing you can count on is that he’ll try new things and, unless he’s indulging in Ocean’s Eleven fun, and attempt to push the boundaries of what we know as cinema. That all sounds like embellishment and it is, because Soderbergh is nothing if not a bit pretentious. His newest film, The Laundromat, is a big swing aimed at uncovering the morbid, funny, and messed-up nature of the scheming that went on behind the Panama Papers scandal. He misses the mark by half an hour. It’s The Big Short if The Big Short was in a hurry to fill you in on the minutiae, or didn’t bother to impart to you the gravity of its subject matter.

The film is only ninety or so minutes long and for a topic as heady as financial con-artists around the world, and the all-seeing, all-ignoring facilitators who allowed for them, well, the world is not enough...

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Zombieland: Double Tap

by Michael Frank

Zombieland: Double Tap doesn’t waste time telling you that you’re watching a zombie movie. The Columbia Pictures logo comes to life, fighting off multiple would-be enemies, leading to a Deadpool-esque opening credits sequence. It’s not new by any means, but it reminds you why you like zombie movies in the first place: they’re fun as hell. 

The rest of the film follows its opening: an enjoyable movie-going experience with a lack of plot, a lack of originality, yet just enough movie stars, inside jokes, and heart to make it worthwhile. Double Tap follows our leads from a decade earlier, Tallahassee (Woody Harrelson), Columbus (Jesse Eisenberg), Wichita (Emma Stone), and Little Rock (Abigail Breslin), as they traverse the new-look world that’s still full of zombies. The actors themselves have aged nicely as well, with Harrelson, Eisenberg, Stone, and Breslin all maintaining prolific and award-winning careers. If anything, they’re more likeable than they were 10 years ago, an difficult feat for a cast to pull off. They bring their full arsenal of charisma to their roles in Double Tap, giving generous performances to a film that cares more about its world than its characters...

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