Tag Archives: Movie Reviews

Trading Places Exemplifies the Eighties Class Comedy, for Better and for Worse

There’s something about class conflicts that lend themselves well to comedy. The snobs vs. slobs dynamic has been a venerable strain of humor on the silver screen, especially in the eighties, and Trading Places aims to take advantage of that. It presents Dan Aykroyd as a snooty stuffed shirt named Louis Winthorpe and Eddie Murphy as a street-wise hustler named Billy Ray Valentine. As I discussed on the Serial Fanaticist Podcast, Having the otherwise disparate worlds of these two men collide is a sound, time-tested recipe to wring some laughs out of the contrast between the well-heeled and the worn-heeled.

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Return to Oz Picks Mood and Metaphor over Plot and Progression on the Darker Side of the Rainbow


Conventional wisdom holds that stories should be held together by “but”s and “therefore”s instead of “and then”s. Each new scene, each beat in the narrative, should be motivated by what came before, either as cause and effect or as a change and reaction, rather than a random series of events. That approach is supposed to preserve the weight and momentum of your story, giving the actions taken and the choices made more meaning within a greater whole.

Return to Oz, however, is squarely an “and then” movie. As I discussed on the We Love to Watch Podcast, the nearly-half century late sequel to The Wizard of Oz brings back the iconic Dorothy Gale, and it shows her making a few key decisions here and there. But the film is mainly an accumulation of events that simply roll into one another, with minimal connective tissue between them. It roundly violates those dearly-held storytelling principles, which should consign it to the scrap heap of the languid or unsatisfying.

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The Star Wars Holiday Special Should Never Be Forgotten

While the debates among the Star Wars faithful rage on — about how each film should be ranked, which events are canon, or who shot whom and when — one simple truth remains. However high its highs, however great its triumphs, a franchise as long-lived and wide-ranging as Star Wars will inevitably produce a serious amount of utter crap.

Continue reading at Consequence of Sound →

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Moana Is a Cheery Throwback to the Heights of the Disney Renaissance

There is a little bit of magic in Disney films of a certain stripe, when the music swells and the counterpoint kicks in and the protagonist hears the call to adventure and your cold, icy heart can’t help but melt just a little as you feel the hero’s same pull toward the horizon and mix of excitement and trepidation over the sheer possibilities. Moana is filled to the brim with these moments, the kind that make the most of the hero’s journey the films sets its eponymous protagonist on. And it capitalizes on Moana’s unique combination of self-confidence, internal conflict, and gnawing uncertainty, that give her layers and make her a compelling figure.

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Black Panther Makes the MCU a Deeper, Richer Place


Black Panther
doesn’t have the aura of a Marvel Cinematic Universe film. Yes, it features allies and enemies we’ve met in prior outings like Age of Ultron and Civil War. Yes, it has a jovial vibe throughout its cast that buoys heavier moments. And yes, it has the mandatory, climactic third act battle, draped in CGI and stuffed with the usual fanfare.

But Black Panther also stands apart from the rest of Marvel’s offerings on the silver screen. It is unabashedly Afrocentric in its focus and in its approach. It is a forthrightly political film, meditating on the legacy of colonialism, the oppression of people of color around the world, and the push and pull of calls for isolationism and for global activism. Though squeezed into the standard hero movie structure, Black Panther takes its audience to a different space, one untouched by the rest of the world and, in some ways, untouched by the broader cinematic universe the film exists within, which gives the movie its unassuming strength.

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Groundhog Day at 25: Bill Murray Finds Freedom While Trapped in a Nightmare


It’s easy to think of science fiction and fantasy films in terms of their trappings, whether that be spaceships and lasers or swords and sorcery. But at their best, works in that genre aren’t about light speed or magic powers; they’re about thought experiments made whole, meant to probe the real world through a fictional one and to examine the human condition by stripping away the bounds of the impossible and seeing how much humanity is left.

That’s a lofty way to introduce an uproariously funny, Bill Murray-fronted comedy. But seen from that vantage point, Groundhog Day may be the sci-fi/fantasy film of the decade (with all due respect to The Matrix), despite its small-town setting and distinct lack of spells or space flights, because it uses its fantastical conceit to reveal what could, and what does, make us good.

Continue reading at Consequence of Sound →

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Star Wars: The Last Jedi Embraces the Past, Instead of Discarding It


CAUTION: This Review Contains Major Spoilers for Star Wars: The Last Jedi

Throw away the past. The rap on 2015’s The Force Awakens, the film that revived Star Wars for a new generation, was that it was too derivative, too indebted to A New Hope, too bound to the blueprint that had launched the series. There was a sense that in its second outing, this new incarnation of Star Wars needed to break new ground, that having established this new setting, these new characters, and its new conflicts and mysteries, it was time to break from what had come before.

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Ed Wood and Who Art Really Belongs To

In the wake of disquieting fan revolts over superhero films, video games, science fiction awards, and genre works of all stripes, there’s been an ensuing debate over who “owns” art. Whether you’re talking about a particular release, a broader genre, or even an entire industry, there’s an ongoing discussion to the tune of “who does this belong to?”

And the responses are legion. Is it the creative individuals behind these works? Their most ardent fans? The would-be arbiters of taste? The studios and publishers who fund them? Is it the dye-in-the-wool traditionalists or the boundary-pushing innovators? Who among these gets to decide what’s acceptable and what isn’t, let alone what’s good, great, or even art in the first place? These are questions at the heart of Ed Wood, the 1994 film from director Tim Burton.

Continue reading at Consequence of Sound →

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Justice League Tries to Thread the Needle Between The Avengers and Batman v. Superman and Turns Out Generic

It’s impossible to process Justice League without considering Batman v. Superman, the film’s literal predecessor, and The Avengers, its spiritual one. The DCEU’s latest team-up movie is so much in conversation with these two prior films, so much reacting and responding to them, that it almost doesn’t make sense without them.

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Thor: Ragnarok Wins with Comedy and Character, Even When its Story Sags


Some of the best aspects of the original Star Wars movie were its characters, its humor, and its surfeit of enjoyable, individual moments. The film’s special effects were innovative, and its famed myth arc was substantial, but the hero’s journey and all that technical splendor might have fallen apart if we hadn’t felt the warm, jostling connection between Luke, Leia, and Han, or laughed at their antics, or been able to so enjoy their interactions even apart from the larger story. Thor: Ragnarok, while not nearly as good as A New Hope, can rely on the same saving grace.

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