It’s no secret I love to analyze television and film. My wife would say I over-analyze but I don’t care, it’s part of the enjoyment for me. As my life moves forward I’ve obviously become crankier and less amused by certain media targeted at audiences younger than me. With that in mind, I’ve recently begun to question the content in film that is clearly targeted at me. After seeing A Quiet Place earlier this year, I realized film is much more enjoyable when story is unique without following the usual tropes of the genre and being bombarded with content Hollywood deems “realistic”. That is, the myth that simply being rated R is a better experience.
With their backs against the wall, the story of Dunkirk guides us on the journey of a different kind of hero.
Integrating Mexican culture with rich beautiful visuals, Pixar once again wins big with it’s diversity in storytelling with Coco.
Imagine a bad horror film crafted by excellent filmmakers, tech savvy set designers on a budget and one handsome hero with a handful of cheesy one liners that’s sure to make any woman’s heart melt, dead or alive. That’s what you get with Sam Raimi’s 1981 and 1986 cult hit The Evil Dead.
Soderbergh continues his heist film saga by de-glamorizing Oceans 11 with full scale southern makeover with all the same entertainment value.
Hearts can officially break for computerized protagonists as we cheer for the triumphant conclusion that is War for the Planet of the Apes.
Thank goodness for Edgar Wright. After penning one of the more interesting and enjoyable MCU films (Ant-Man), Wright is back from his four year directorial hiatus to give us Baby Driver- a high octane satire on heist films with a killer soundtrack.