Although “News of the World,” the new Tom Hanks western, now playing in theatres, is set almost 150 years ago its themes feel very contemporary. Racism, fake news and even fear of a pandemic are all essayed in this film based on Paulette Jiles’ bestselling 2016 novel of the same name.
Set five years after the end of the American Civil War, Hanks plays the elaborately named Captain Jefferson Kyle Kidd, a veteran of three wars who now makes a living travelling from town to town doing theatrical live readings of the news of the day.
On one stop he’s offered money to return orphan Johanna (Helena Zengel) to relatives in San Antonio, a four-hundred-mile journey, fraught with danger. “She needs to laugh and dream,” Kidd says. “She needs new memories.”
Both are alone in the world; their families gone. He’s a widower, the 10-year-old was kidnapped years earlier, raised by the Kiowa people as one of their own and recently rescued by the U.S. army. “An orphan twice over.” She doesn’t speak English and, after being torn from the only two places she’s ever known as home, doesn’t trust anyone, especially her new guardian.
As they travel across the country, still divided by the recent war, Johana comes to trust Kidd as challenges, both natural and human, present themselves. Along the way the trip evolves into something more than a job for Kidd or simple survival, it becomes a journey to personal salvation for them both.
“News of the World” is a big, handsome period piece in the style of “True Grit” and “The Searchers” but without the suspense of either of those road movies. The odd couple pairing of Kidd and Johanna may seem strange at first, but it soon becomes clear, despite her unruly behavior, that they belong together. There is some nicely directed peril, courtesy of Paul Greengrass, but the likability Hanks brings to the role is reassuring… perhaps too reassuring.
Kidd is a man battered by war and personal trauma. He’s an imperfect man trying to be a good one in a broken and divided land. But he’s also Mister Rogers, so despite the character’s world weariness, there is never a feeling that he will do anything less than the right thing. It’s noble, but it is not the stuff of great drama.
The thing that does set “News of the World” from the pack is the prescient nature of the story. The world Kidd and Johanna exist in is a lawless one, and one that echoes many of today’s concerns. From human traffickers and a wannabe-small-town fascist to a horrifying lynching and fake news, the film makes it clear that venality and social ills that are part of our contemporary newscasts are a result of a long history of bitter division. The movie fights to find optimism in the story, and it is here that Hanks earns his money. It ends on notes of healing and redemption but the payoff, while satisfying, doesn’t feel worth the long journey.
Richard sits on on “CTV News at Noon” to review the latest Tom Hanks’ film “Greyhound,” now streaming on Apple TV+ and talk about what the new TV season might bring.
Tom Hanks is the above the title star of “Greyhound,” a new naval thriller now streaming on Apple TV+, but the star of the film is the tension that takes hold in the first ten minutes and does not let go.
Set during the onset of the United States’ involvement in World War II, Hanks plays Commander Ernest Krause, a stoic sailor on his first command. His mission is to lead an international convoy of 37 Allied ships across the North Atlantic with a wolfpack of German U-boats in hot pursuit. Running out of depth charges and fuel, the convoy needs air cover which is hours away.
That’s it. “Greyhound” Isn’t so much story driven as it is propelled by the action. In a breathless ninety minutes director Aaron Schneider, working from a script written by Hanks, adapted from C. S. Forester’s 1955 book “The Good Shepherd,” ratchets up tension, creating an old-fashioned action movie that mines a life and death situation for real cinematic thrills. That being said, there’s no fight scenes, you never see the face of the enemy and the only dad bodies are wrapped in linen, getting a proper burial at sea.
Inspired by the Battle of the Atlantic, the movie takes place completely on board the USS Keeling (Call sign “Greyhound”). Krause is in the ship’s claustrophobic helm for ninety percent of the running time, barking orders, peering through binoculars, making hard decisions with consequences that will affect the lives of hundreds of people.
Hanks plays Krause as a man with nerves of steel who hides his concern behind his furrowed brow. In the heat of battle every second counts and both Hanks and Schneider understand that the mental gymnastics required to do the job must be front and centre. This is a movie where the fiercest action is verbal. Sure, there’s gunfire, torpedoes and explosions, but the exciting stuff comes from Krause’s mental perspective. Never have coordinated turn equations and rudder work been this exciting.
“Greyhound” was originally set for a theatrical release. The more sweeping shots, those of the ships as specks in the vast ocean, feel like they would have benefited from the big screen treatment, but the story, driven by intellect, the effectiveness of team effort and old-fashioned thrills, works well in any format.
“Toy Story 3” seemed like the end of the line for Woody, Buzz Lightyear and Company. Andy, the young boy who loved and cared for them (just as much as they loved and cared for him) put away childish things and headed off for college, leaving his toys on the curb. As it turns out the end of their time with Andy was the beginning of a new life with spunky five-year-old Bonnie (Madeleine McGraw).
These days Woody (Tom Hanks), the gangly pull-string cowboy doll who was Andy’s favourite, sits, unloved and unused in Bonnie’s closet. He may be gathering dust bunnies but he takes his job very seriously. Woody passionately believes that he and the other toys play a crucial part in the upbringing of their child, so when it comes time for Bonnie to go to orientation day at kindergarten he tags along. When a boy bullies her, taking away her arts-and-craft supplies, Woody leaps into action, rescuing some crayons and odds and ends from the garbage for her. Brushing aside her tears she makes a toy out of a spork, a pipe cleaner, some googly eyes and a wooden ice cream spoon. She names it Forky (Tony Hale) and soon they are inseparable. Trouble is, Forky is in the midst of an existential crisis. ”I am not a toy,” he says, “I belong in the trash.” When Forky gets loose during a family road trip, Woody sees it as his duty to track him down and return him to Bonnie. With the help of pals Space Ranger Buzz Lightyear (Tim Allen), cowgirl Jessie (Joan Cusack), goofy T-Rex (Wallace Shawn) and others including a doll with a broken voice box (Christina Hendricks), Woody goes on an adventure and learns what it really means to be a toy.
Like the other entries in the “Toy Story” franchise, “4” doubles down on themes that other recent kid’s films have taken pains to avoid. Loss, moving on, unrequited love (yup, toys can fall in love) and good vs evil sit alongside the more traditional leitmotifs of friendship and loyalty. The movie can’t really be described as dark, although the ventriloquist dummies are the stuff of nightmares, but it has a level of emotional maturity that is part of Pixar’s trademark.
Part of that is likely due to the investment we have in these characters. Adult members of the audience have been watching these films for twenty-five years, literally growing up with Woody and Buzz and the kindly voicework that comes along with them, particularly from Hanks whose voice has the same effect as a cuddly warm blanket. As animated characters they are free to explore deeper emotional troughs, I think, because they look like toys. If this wasn’t animated, if the characters weren’t made of rubber and plastic, their travails may not be lessened but they might be less palatable for kids.
The main story focusses on Woody and his self-realization but he’s supported by a raft of new characters. Keanu Reeves plays Duke Caboom, a small plastic motorcycle daredevil from Canada (Who’s the Canuck with all the luck? Who’s the greatest of the Great White North?). He’s heroic in his own way, a wannabe champion with a funny and (here’s that word again) poignant backstory.
Forky’s journey is McGuffin that drives the plot forward. The story isn’t really about him but his search for purpose is a good fit for the “Toy Story” universe. Hale’s voicework brings a fun sense of confusion—Forky is a Frankenstein character, a child discovering the world—that keeps his character interesting and amusing.
Best of all is Hendricks as Gabby Gabby, the vintage doll who was “defective out of the box.” She has the widest arc of any of the characters, (MILD SPOILER) from villainous to sympathetic, and the tone of Hendricks’ voice is both menacing and doll-like.
“Toy Story 4” doesn’t feel like a classic in the same way the original did (and still does) but the laughs and the heart-tugging moments feel earned because Pixar place story and character ahead of the frenetic action so often showcased in other films for children. It is essentially an action/adventure movie, less complex than “1,” “2” and “3,” but there is an undeniable poignancy and yes, adult fans may even shed a tear or two as the long running story comes to a conclusion.
Earlier this week Northern Michigan’s Lake Superior State University added the term “fake news” to its 43rd annual List of Words Banished from the Queen’s English for Misuse, Overuse and General Uselessness. According to dictionary.com those two toxic words, popularized by Donald Trump and adopted by, well, almost everyone, denote “false news stories, often of a sensational nature, created to be widely shared online for the purpose of generating ad revenue via web traffic or discrediting a public figure, political movement, company, etc.”
A new film, The Post, is a time capsule back to a time before exhortations of “fake news” created an atmosphere where the press is perceived as an enemy rather than the voice of the people.
Meryl Streep plays Katharine Graham, the first female publisher of a major American newspaper. With the paper bordering on insolvency she has tough decisions to make.
When the New York Times breaks the story of a massive cover-up and is shut down by the Nixon White House, hardnosed editor Ben Bradlee (Tom Hanks) sees an opportunity to scoop the Times and make a splash. “Are any of you tired of reading the news,” he asks his staff, “instead of reporting on it?” Trouble is, the story involves several people close to Graham, most notably former Secretary of Defense Robert McNamara (Bruce Greenwood), who prolonged the Vietnam War despite knowing it was a no-win situation.
Graham must make the decision to publish or not. Running the so-called Pentagon Papers would expose years of government secrets, make an enemy of President Nixon and could scare off the investors she’s been courting. Not reporting could endanger young the Americans who were still being drafted and sent to fight an unwinnable war. “The only way to assert the right to publish is to publish,” argues Bradley.
The Post is a historical tale that feels as timely as any front-page story in today’s paper. A high-stakes look at journalism before the age of fake news, it reminds us of the importance of objective, investigative reporting in an era of secrecy, lies, and leaks. It’s an ‘if you don’t know your past, you don’t know your future” message movie that shines a light on a watershed but mostly forgotten slice of our past.
The Pentagon Papers were a significant turning point in our recent history. They were proof of a credibility gap between what politicians say and what they are doing. For Bradlee, publishing these documents sent a message that the White House had no influence on what stories made the front page and which don’t. “The press must serve the governed not the governors.”
Combined, all these elements add up to a movie that aims to make a statement while avoiding preaching to its audience. Director Steven Spielberg and stars Hanks and Streep are entertainers first and foremost, and they do entertain here, but they also portray a period whose reverberations in the time of fake news are being felt stronger than ever.
The air of paranoia that hung over All the President’s Men, another movie centered on the investigative reporting of The Washington Post, is missing in The Post. Instead, Spielberg film’s is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times.
The air of paranoia that hung over “All the President’s Men,” another movie centered on the investigative reporting of The Washington Post, is noticeably missing in “The Post.” Instead, the new Steven Spielberg film is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times.
Meryl Streep plays Katharine Graham, the first female publisher of a major American newspaper. The socialite inherited The Washington Post following her husband Phil Graham’s death in 1963. “Kate throws a great party but she’s only here because her husband died,” harrumphs board member Arthur Parsons (Bradley Whitford). With the paper bordering on insolvency she has tough decisions to make.
Meanwhile hardnosed editor Ben Bradlee (Tom Hanks) is looking for a story that will help the paper break out of its local market and go national. “Are any of you tired of reading the news,” he asks his staff, “instead of reporting on it?”
When the New York Times breaks the story of a massive cover-up and is shut down by the Nixon White House, Bradlee sees an opportunity to scoop the Times and make a splash. Trouble is, the story involves several people close to Graham, most notably former Secretary of Defense Robert McNamara (Bruce Greenwood), who prolonged the Vietnam War despite knowing it was a no-win situation.
Graham must make the decision to publish or not. Running the so-called Pentagon Papers would expose years of government secrets, make an enemy of President Nixon and could scare off the investors she’s been courting. Not reporting could endanger young the Americans who were still being drafted and sent to fight an unwinnable war. “The only way to assert the right to publish is to publish,” argues Bradley.
No spoilers here, but the historical record shows that bombshell revelations were made and today The Washington Post is still a going concern.
“The Post” is a historical tale that feels as timely as any front-page story in today’s paper. A high-stakes look at journalism before the age of fake news, it reminds us of the importance of objective, investigative reporting in an era of secrecy, lies, and leaks. It’s a ‘if you don’t know your past, you don’t know your future” message movie that shines a light on a watershed but mostly forgotten slice of our past.
The Pentagon Papers were a significant turning point in our recent history. They were proof of a credibility gap between what politicians say and what they are doing. For Bradlee, publishing these documents sent a message that the White House had no influence on what stories made the front page and which don’t. “The press must serve the governed not the governors.”
Hanks and Streep, the two most trusted people in Hollywood, are solid as the two most trusted people in Washington.
As Graham, Streep is a woman who transcends the attitudes of her male advisors to do the right thing regardless of the repercussions. It’s a slow burn performance as she slowly sheds the weight of her socialite upbringing to embrace an outgoing and progressive point of view. As she grapples with publishing and possibly losing everything versus playing it safe, she becomes one of the film’s few characters with an arc.
Hanks plays Bradlee with bluster. As a noted collector of old school typewriters in real life, Hanks must have relished the chance to surround himself with the clickety-clack soundtrack of a newsroom in full tilt boogie. He is the movie’s reckless moral code, barking orders and making larger-than-life pronouncements on the importance of a free press. Hanks is at the Spencer Tracey stage of his career, an actor who brings with him an aura of decency and strength; the epitome of American exceptionalism made flesh. Despite the character being one-note Hanks breathes life into him, even if only as a spokesperson for the power of the first amendment.
“The Post” is propped up by good supporting performances, although fine actors like Sarah Paulson and Tracy Letts are stranded in roles that don’t give them much to do. Bob Odenkirk as Ben Bagdikian, one of the architects of the plan to publish the Pentagon Papers, fares better in one of the handful of roles expanded to full bloom.
The expected Spielberg touches are there as well. The Washington Post building shakes as the massive printing presses roar to life, a no-so-subtle metaphor of the upset the Pentagon Papers are about to cause in Washington.
Combined, all the elements add up to a movie that aims to make a statement while avoiding preaching to its audience. Spielberg, Hanks and Streep are entertainers first and foremost, and they do entertain here, but they also shine a light on a historical era whose reverberations are being felt today stronger than ever.
CHIPs: It’s a remake, a comedy and an action film and yet it doesn’t quite measure up to any of those descriptors. It’s a remake in the sense that writer-director-star Dax Shepard has lifted the title, character names and general situation from the classic TV show but they are simply pegs to hang his crude jokes on.
The Circle: While it is a pleasure to see Bill Paxton in his last big screen performance, “The Circle” often feels like an Exposition-A-Thon, a message in search of a story.
The Fate of the Furious: Preposterous is not a word most filmmakers would like to have applied to their work but in the case of the “Fast and Furious” franchise I think it is what they are going for. Somewhere along the way the down-‘n’-dirty car chase flicks veered from sublimely silly to simply silly. “The Fate of the Furious” is fast, furious but it’s not much fun. It’s an unholy mash-up of James Bond and the Marvel Universe, a movie bogged down by outrageous stunts and too many characters. Someone really should tell Vin Diesel and Company that more is not always more.
Fifty Shades Darker: Depending on your point of view “Fifty Shades of Grey” either made you want to gag or want to wear a gag. It’s a softcore look at hardcore BDSM (bondage, discipline, sadism and masochism) that spanked the competition on its opening weekend in 2015. Question is, will audiences still care about Grey’s proclivities and Ana’s misgivings or is it time to use our collective safeword? “Fifty Shades Darker” is a cold shower of a movie. “It’s all wrong,” Ana says at one point. “All of this is wrong.” Truer words have never been spoken.
The Mountain Between Us: Mountain survival movies usually end up with someone eating someone else to stay alive. “The Mountain Between Us” features the usual mountain survival tropes—there’s a plane crash, a showdown with a cougar and broken bones—but luckily for fans of stars Idris Elba and Kate Winslet cannibalism is not on the menu. Days pass and then weeks pass and soon they begin their trek to safety. “Where are we going?” she asks. “We’re alive,” he says. “That’s where were going.” There will be no spoilers here but I will say the crash and story of survival changes them in ways that couldn’t imagine… but ways the audience will see coming 100 miles away. It’s all a bit silly—three weeks in and unwashed they still are a fetching couple—but at least there’s no cannibalism and no, they don’t eat the dog.
The Mummy: As a horror film it’s a meh action film. As an action film it’s little more than a formulaic excuse to trot out some brand names in the kind of film Hollywood mistakenly thinks is a crowd pleaser.
The Shack: Bad things in life may be God’s will but I lay the blame for this bad movie directly on the shoulders of director Stuart Hazeldine who infuses this story with all the depth and insight of a “Davey and Goliath” cartoon.
The Snowman: We’ve seen this Nordic Noir before and better. Mix a curious lack of Oslo accents—the real mystery here is why these Norwegians speak as though they just graduated RADA—Val Kilmer in a Razzie worthy performance and you’re left with a movie that left me as cold as the snowman‘s grin.
Valerian and the City of a Thousand Planets: Movies like the high gloss crime thriller “La Femme Nikita,” the assassin mentor flick “Léon: The Professional” and outré sci fi opera “The Fifth Element” have come to define director Luc Besson’s outrageous style. Kinetic blasts of energy, his films are turbo charged fantasies that make eyeballs dance even if they don’t always engage the brain. His latest, “Valerian and the City of a Thousand Planets,” not only has one of the longest titles of the year but is also one of the most over-the-top, retina-frying movies of the year. Your eyes will beg for mercy.
Wonder Wheel: At the beginning of the film Mickey (Justin Timberlake) warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, writer, director Woody Allen uses every amount of artifice at his disposal—including cinematographer Vittorio Storaro’s admittedly sumptuous photography—to create a film that is not only unreal but also unpleasant. “Oh God,” Ginny (Kate Winslet) cries out at one point. “Spare me the bad drama.” Amen to that.
THE UGLY
Song to Song: I think it’s time Terrence Malick and I called it quits. I used to look forward to his infrequent visits. Sure, sometimes he was a little obtuse and over stayed his welcome, but more often than not he was alluringly enigmatic. Then he started coming around more often and, well, maybe the old saying about familiarity breeding contempt is true. In “Song to Song” there’s a quick shot of a tattoo that sums up my feelings toward my relationship with Malick. Written in flowery script, the words “Empty Promises” fill the screen, reminding us of the promise of the director’s early work and amplifying the disappointment we feel today. This is the straw that broke the camel’s back, the Terrence Malick movie that put me off Terrence Malick movies. I’ll be nice though and say, it’s not him, it’s me.
EXTRA! EXTRRA! MOST COUNFOUNDING
mother!: Your interest in seeing “mother!,” the psychological thriller from “Black Swan” director Darren Aronofsky, may be judged on your keenness to watch American sweetheart Jenifer Lawrence flush a beating heart down a toilet. Aronofsky’s story of uninvited guests disrupting the serene lives of a poet and his wife refuses to cater to audience expectations. “mother!” is an uncomfortable watch, an off-kilter experience that revels in its own madness. As the weight of the weirdness and religious symbolism begins to feel crushing, you may wonder what the hell is going on. Are these people guilty of being the worst houseguests ever or is there something bigger, something biblical going on?
Aronofsky is generous with the biblical allusions—the house is a paradise, the stranger’s sons are clearly echoes of Cain and Abel, and there is a long sequence that can only be described as the Home-style Revelation—and builds toward a crescendo of wild action that has to be seen to be believed, but his characters are ciphers. Charismatic and appealing to a member, they feel like puppets in the director’s apocalyptic roadshow rather than characters we care about. Visually and thematically he doesn’t push button so much as he pokes the audience daring them to take the trip with him, it’s just too bad we didn’t have better company for the journey.
“mother!” is a deliberately opaque movie. Like looking into a self-reflective mirror you will take away whatever you put into it. The only thing sure about it is that it is most confounding studio movie of the year.
Baby Driver: Although it contains more music than most tuneful of movies “Baby Driver,” the new film from director Edgar Wright, isn’t a musical in the “West Side Story,” “Sound of Music” sense. Wallpapered with 35 rock ‘n roll songs on the soundtrack it’s a hard driving heist flick that can best be called an action musical.
The Big Sick: Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
Call Me By Your Name: This is a movie of small details that speak to larger truths. Director Luca Guadagnino keeps the story simple relying on the minutiae to add depth and beauty to the story. The idyllic countryside, the quaint town, the music of the Psychedelic Furs and the languid pace of a long Italian summer combine to create the sensual backdrop against which the romance between the two blossoms. Guadagnino’s camera captures it all, avoiding the pitfalls of melodrama to present a story that is pure emotion. It feels real and raw, haunted by the ghosts of loves gone by.
Darkest Hour: This is a historical drama with all the trappings of “Masterpiece Theatre.” You can expect photography, costumes and period details are sumptuous. What you may not expect is the light-hearted tone of much of the goings on. While this isn’t “Carry On Churchill,” it has a lighter touch that might be expected. Gary Oldman, not an actor known for his comedic flourishes, embraces the sly humour. When Churchill becomes Prime Minister his wife, Clementine (Kristin Scott Thomas) makes an impassioned speech about the importance of the work he is about to take on. He raises a glass and, cutting through the emotion of the moment, says, “Here’s to not buggering it up!” It shows a side of Churchill not often revealed in wartime biopics.
The Disaster Artist: The key to pulling off “The Disaster Artist” is not recreating “The Room” beat for beat, although they do that, it’s actually about treating Wiseau as a person and not an object of fun. He’s an outrageous character and Franco commits to it 100%. From the marble-mouthed speech pattern that’s part Valley Girl and part Beaker from The Muppets to the wild clothes and stringy hair, he’s equal parts creepy and lovable but underneath his bravado are real human frailties. Depending on your point of view he’s either delusional or aspirational but in Franco’s hands he’s never also never less than memorable. It’s a broad, strange performance but it may also be one of the actor’s best.
Dunkirk: This is an intense movie but it is not an overly emotional one. The cumulative effect of the vivid images and sounds will stir the soul but despite great performances the movie doesn’t necessarily make you feel for one character or another. Instead its strength is in how it displays the overwhelming sense of scope of the Dunkirk mission. With 400,000 men on the ground with more in the air and at sea, the sheer scope of the operation overpowers individuality, turning the focus on the collective. Director Christopher Nolan’s sweeping camera takes it all in, epic and intimate moments alike.
The Florida Project: This is, hands down, one of the best films of the year. Low-budget and naturalistic, it packs more punch than any superhero. Director Sean Baker defies expectations. He’s made a film about kids for adults that finds joy in rocky places. What could have been a bleak experience or an earnest message movie is brought to vivid life by characters that feel real. It’s a story about poverty that neither celebrates or condemns its characters. Mooney’s exploits are entertaining and yet an air of jeopardy hangs heavy over every minute of the movie. Baker knows that Halley and Moonie’s well being hangs by a thread but he also understands they exist in the real world and never allows their story to fall into cliché.
Get Out: This is the weirdest and most original mainstream psychodrama to come along since “The Babadook.” The basic premise harkens back to the Sidney Poitier’s classic “Guess Who’s Coming to Dinner.” In that film parents, played by Spencer Tracy and Katharine Hepburn, have their attitudes challenged when their daughter introduces them to her African American fiancé. The uncomfortable situation of meeting in-laws for the first time is universal. It’s the added layers of paranoia and skewered white liberalism that propels the main character’s (Daniel Kaluuya) situation into full-fledged horror. In this setting he is the other, the stranger and as his anxiety grows the social commentary regarding attitudes about race in America grows sharper and more focussed.
Lady Bird: Greta Gerwig’s skilful handling of the story of Lady Bird’s busy senior year works not just because it’s unvarnished and honest in its look at becoming an adult but also, in a large degree, to Saoirse Ronan’s performance. I have long called her ‘Lil Meryl. She’s an actor of unusual depth, a young person (born in 1994) with an old soul. Lady Bird is almost crushed by the weight of uncertainty that greets her with every turn—will her parents divorce, will there be money for school, will Kyle be the boy of her dreams, will she ever make enough cash to repay her parents for her upbringing?—but Ronan keeps her nimble, sidestepping teen ennui with a complicated mix of snappy one liners, hard earned wisdom and a well of emotion. It’s tremendous, Academy Award worthy work.
The Post: Steven Spielberg film is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times. Director Spielberg and stars Tom Hanks and Meryl Streep are entertainers first and foremost, and they do entertain here, but they also shine a light on a historical era whose reverberations are being felt today stronger than ever.
The Shape of Water: A dreamy slice of pure cinema. Director Guillermo del Toro uses the stark Cold War as a canvas to draw warm and vivid portraits of his characters. It’s a beautiful creature feature ripe with romance, thrills and, above all, empathy for everyone. This is the kind of movie that reminds us of why we fell in love with movies in the first place.
Three Billboards Outside Ebbing, Missouri: The story of a mother’s unconventional war with the world is simple enough, it’s the complexity of the characters that elevates the it to the level of great art.
Wonder Woman: Equal parts Amazon sword and sandal epic, mad scientist flick, war movie and rom com, it’s a crowd pleaser that places the popular character front and centre. As played by Gal Gadot, Diana is charismatic and kick ass, a superhero who is both truly super and heroic. Like Superman she is firmly on the side of good, not a tortured soul à la Batman. Naïve to the ways of the world, she runs headfirst into trouble. Whether she’s throwing a German tank across a battlefield, defying gravity to leap to the top of a bell tower, tolerating Trevor’s occasional mansplaining or deflecting bullets with her indestructible Bracelets of Submission, she proves in scene after scene to be both a formidable warrior and a genuine, profoundly empathic character.
