Over time we’ve been blessed with a lot of many amazing couples on screen. Sometimes, the film is incredible, but the relationship? Not so much. Depending on the film, the toxicity of the coupling can accentuate some of its intentions, other times, it’s not even recognized as such. I think the sense of awareness for the subjects makes a real difference. There are a lot of ways to look at toxic relationships in films, and these are several that should get attention, but as you’ll see, it’s for differing reasons. Continue reading A Sampling Of Toxic Relationships In Film
Sam Mendes’ “1917” (2019) is more than just a technical marvel; it’s a captivating survival story of young men in wartime. While its one-take approach with all of its footage melded together to look as though the full two hour film was one continuous shot is great, this is not a film ruled by its gimmick. In fact, it’s easy to forget about the one-take editing by Lee Smith once you’re into the action of the movie until there’s a particularly impressive bit of camera movement. At its heart, “1917” tells a story about the destruction that war. Continue reading Review: 1917 (2019)
Every year, the Hollywood Foreign Press Association (HFPA) hosts the Golden Globes. The Golden Globes are used as a predictor for Oscar nominations. As always, there are only so many slots for each category. Not every actor, filmmaker, or movie can be nominated. But the Golden Globes typically proves to be pretty white and male dominated. This year, five male filmmakers were nominated for Best Director. Bong Joon-Ho, who directed “Parasite” (2019), is the only non-white person nominated. The other nominees, Sam Mendes, Todd Phillips, Martin Scorsese, and Quentin Tarantino are all white dudes. And, in my frank and honest and personal opinion, it is comprised of mediocre white film bros. Sue me. (Actually, please don’t. I have lots of student loans.) Continue reading Editorial: Is This Male Director Good or Have Men in My Life Just Convinced Me to Put Up with Mediocrity?