Comedy is hard. High Concept Comedy is even harder. High Concept Comedy that’s hilarious, intelligent, and emotionally resonant… almost impossible. Almost. The Lonely Island Gents (Andy Samberg, Jorma Taccone, and Akiva Schaffer) have been working at being secretly one of the best Comedy trio since Hot Rod. They’ve only gotten better and better with time. Palm Springs is their best yet.
I feel like once Nine Days is released to a wider audience and people begin to find it they’re going to fall in love hard. Hard in the way that people love things like Shawkshank. It’s that kind of film that speaks to the human condition. Anchored by a truly larger than life performance by Winston Duke and equally passionate supporting work by Zazie Beetz and Benedict Wong, the film is too difficult to describe in a simple plot synopsis. Rather, I will say that the film manages to converge into a heady brew of theological, science fiction, and emotionality that only a Powell and Pressberger film this reviewer has ever seen attempted. Having seen it twice, I am looking forward to a third, fourth and fifth viewing.
There is perfection in imperfections. Mank only reaffirms that David Fincher is a perfectionist that frustratingly has come to terms with the imperfections of film. The way that the film lovingly homages the film of the golden era with photography, soundscape, cigarette burns, editing, performance, and just about every single piece of the entire production. Many will speak to its technical merits with Film Bro gusto. Few will discuss just how warm and loving a film it is. As much as this is a love letter to a bygone era it is also a final word in a three-decade-long back and forth between David and his father Jack (who wrote the script). With some distance, many will find the charms, grace, and intentional imperfections of one of Fincher’s finest moments.
The Invisible Man (dir. Leigh Whannell)
There is only one film that’s a more visceral experience. Everything that you’d expect from this remake of the HG Welles story doesn’t happen. Whannell’s adroit script zigs when you expect it to zag. It’s a fascinating slow burn with Elizabeth Moss front and center. When the film does unleash itself onto an audience it’s never plays fair and strips you of any safety net.
Palm Springs (dir. Max Barbakow)
Comedy is hard. High Concept Comedy is even harder. High Concept Comedy that’s hilarious, intelligent, and emotionally resonant… almost impossible. Almost. The Lonely Island Gents (Andy Samberg, Jorma Taccone, and Akiva Schaffer) have been working at being secretly one of the best Comedy trio since Hot Rod. They’ve only gotten better and better with time. Palm Springs is their best yet.
B-Movie Podcast Episode
Nine Days (dir. Edson Oda)
I feel like once Nine Days is released to a wider audience and people begin to find it they’re going to fall in love hard. Hard in the way that people love things like Shawkshank. It’s that kind of film that speaks to the human condition. Anchored by a truly larger than life performance by Winston Duke and equally passionate supporting work by Zazie Beetz and Benedict Wong, the film is too difficult to describe in a simple plot synopsis. Rather, I will say that the film manages to converge into a heady brew of theological, science fiction, and emotionality that only a Powell and Pressberger film this reviewer has ever seen attempted. Having seen it twice, I am looking forward to a third, fourth and fifth viewing.
Original Review
Mank (dir. David Fincher)
There is perfection in imperfections. Mank only reaffirms that David Fincher is a perfectionist that frustratingly has come to terms with the imperfections of film. The way that the film lovingly homages the film of the golden era with photography, soundscape, cigarette burns, editing, performance, and just about every single piece of the entire production. Many will speak to its technical merits with Film Bro gusto. Few will discuss just how warm and loving a film it is. As much as this is a love letter to a bygone era it is also a final word in a three-decade-long back and forth between David and his father Jack (who wrote the script). With some distance, many will find the charms, grace, and intentional imperfections of one of Fincher’s finest moments.
The Invisible Man (dir. Leigh Whannell)
There is only one film that’s a more visceral experience. Everything that you’d expect from this remake of the HG Welles story doesn’t happen. Whannell’s adroit script zigs when you expect it to zag. It’s a fascinating slow burn with Elizabeth Moss front and center. When the film does unleash itself onto an audience it’s never plays fair and strips you of any safety net.
B-Movie Podcast Episode
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