Morgan Freeman is to geriatric group comedies as Liam Neeson is to offspring-rescuing action movies. Which is to say, they’re the goddamn masters of each.
Author: Steven Strauss
Off to the Races…
Even though the Academy Award’s history of choosing abominable Best Picture winners dates back to this venerable institution’s inception, my first memory of living through a truly confounding upset belongs to Crash beating Brokeback Mountain. A few years later, when The King‘s Speech somehow took the prize from The Social Network, I vowed never to care about the Oscars again.
Will and George, Alec and Donald, Jim and Andy…and Tony
Will Ferrell’s You’re Welcome America: A Final Night With George W. Bush is my favorite Broadway production that I never actually experienced in person.
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BLOODAS (Tee Grizzley & Lil Durk)
Tee Grizzley & Lil Durk’s Bloodas lacks a singular identity.
A Primer: LAST FLAG FLYING (Richard Linklater)
Richard Linklater’s Last Flag Flying is the type of film that I fear people will walk away from asking, “So what?”
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AT THE ILLUSIONIST’S TABLE (The McKittrick Hotel): Dinner Magic
Magic’s having a theatrical moment.
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SONGS OF EXPERIENCE (U2)
Much like the rest of their albums, Songs of Experience features U2 doing U2 things.
THELMA (Joachim Trier)
Thelma, Norway’s submission for this year’s Academy Award for Best Foreign Language Film, falls prey to a common pitfall of the horror and sci-fi genres: it withholds basic information to drum up artificial suspense.
2017 Rewind: RISK (Laura Poitras)
Potentially my hottest take of 2017: Laura Poitras’ Academy Award-winning Citzenfour from 2014 is worse than Risk, her follow-up released earlier this year.
THE BREADWINNER (Nora Twomey)
The Breadwinner is the rare sort of animated movie whose story could feasibly translate to the realm of live action.
Write All Nite 