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Filtering by Tag: Washington City Paper
Kirstin Dunst as photojournalist Lee Smith. (Murray Close/A24)
Wherein Ex Machina auteur Alex Garland’s immaculate craft bumps up against his dodgy judgment. This is a yelling-fire-in-a-crowded theater movie. Leave the destruction of the White House to clowns like Roland Emmerich, FFS. My Washington City Paper review is here.
Kong is the more expressive of the two stars of Godzilla x Kong, despite being second-billed.
“So Godzilla x Kong does the reluctant-allies thing for the second time in two movies, and it can’t quite hide that, despite their palpable love-hate chemistry on-screen, G and K probably don’t get along any better in real life than Bruce Willis and Cybill Shepherd.
Reviewed for the Washington City Paper.
Katy O’Brian and Kristen Stewart in Love Lies Bleeding (A24).
Writer-director Rose Glass’ sophomore feature is the lurid, horny hybrid of Blood Simple, Thelma & Louise, Bound, and Pumping Iron you didn’t know you needed. Reviewed for WCP.
Timothée Chalamet and Denis Villeneuve on location on Arrakis. (Niko Tavernise)
I feel better about my headline than I do about “the sandworm has turned.” Reviewed for WCP.
I reviewed Argylle, the latest, longest, most tiresome, and most meta of Matthew Vaughn’s meta action comedies. For my sins.
Wherein a reflection on the 1989 film Batman and composer Danny Elfman’s substantial contribution thereunto belatedly attempts to reckon with two sexual assault claims filed against him. I don’t think Elfman is an ideal subject through which to continue the eternal can-one-separate-the-art-from-the-artist debate for many reasons, but I was asked to reframe the piece that way. I hope that some of what was initially fun about it survives.
Andrew Scott and Paul Mescal venture out into the world. (Parisa Taghizadeh/Searchlight Pictures)
I didn’t get to see Andrew Haigh’s All of Us Strangers at a festival or an advance screening last year, so I’m calling it the first great movie of 2024. My Washington City Paper review is here.
Sandra Hüller has a dream house next to hell in The Zone of Interest. (A24)
Jonathan Glazer’s Under the Skin was my favorite film of 2014 (though it was released outside of the U.S. a year earlier). My review of his even-more-challenging follow-up, The Zone of Interest, is here. I wrote, erroneously, that the movie was in black-and-white. It’s not, but monochrome was how I remembered it. That’s definitely the strangest mistake I’ve ever made in (digital) print.
