Admin

There’s something sacred about the rituals that come with saying goodbye, regardless of the culture from which you hail. No matter who you are or where you’re from, odds are that you or someone close to you has very specific ideas about what will happen when you die (logistical ideas, mind you, not metaphysical ones – we haven’t got all day).

But what happens when circumstances upend those expectations and you’re forced to rely on the kindness of strangers to fulfill them?

That’s the question that Irish filmmaker Aoife Crehan addresses in “The Last Right.” Written and directed by Crehan, it’s the story of a man whose personal journey of grief is thrown into chaos by the actions of the stranger sitting next to him on an airplane – chaos that may eventually lead him to discover the order he was always meant to experience.

It’s one of those movies that brings a lot to the table. You’ve got family secrets and dysfunction. You’ve got a little romance, plenty of situational comedy and even some heist vibes. All in service to telling a small story of what it means to follow through on a promise … even if it’s a promise you never really made.

Saturday, 10 April 2021 14:46

‘We Don’t Deserve Dogs’ a doggone good doc

Written by Allen Adams

“Every dog must have his day.” – Jonathan Swift

I love dogs. I love my dog Stella and every dog I ever had growing up. I love dogs I pass on the street. I love dogs that bark and dogs that whine and dogs that growl. I love them all, regardless of whether or not they love me back (although they usually do).

So it’s no surprise that when the opportunity was presented to me to review the new documentary “We Don’t Deserve Dogs,” directed by Matthew Salleh in collaboration with his partner Rose Tucker. It’s a voyage around the globe, looking at the various ways that dogs impact the worlds in which we live. Across borders and cultures, dogs are present, helping us by simply being the wonderful creatures that they are.

From country to country, from circumstance to circumstance, we bounce from place to place, encountering our four-legged friends in various environments. And even in those spots where the life of a dog is difficult, these wonderful creatures find ways to shine their light upon us. It is heartfelt and charming and uplifting – and don’t forget the tissues, because if you’re anything like me, you are going to need them.

We might have passed the point of no return regarding superhero cinema.

Yes, there are plenty of folks who would argue that we long ago reached cultural saturation when it comes to superhero movies. But in the aftermath of the Snyder Cut and with multiple MCU offerings on the immediate horizon – plus the wide swath of recent and forthcoming streaming series drawing from superpowered source material both well-known and obscure – well … it’s a lot, not all of it good.

And this is coming from someone who LOVES this stuff.

Netflix’s latest foray into the realm of the superheroic is “Thunder Force,” a new film written and directed by Ben Falcone and starring Melissa McCarthy and Octavia Spencer. It’s an effort to play the tropes for laughs and have some fun with the foibles inherent to the genre, relying heavily on the talents of its cast to carry the day.

It doesn’t quite work out the way they might have hoped.

What so many of these filmmakers forget is that while spectacle is at the forefront with superhero films, the story still matters. Without an engaging narrative, all we’re left with is a bunch of CGI nonsense that is difficult to invest in. And no matter how hard the actors try, they can’t salvage what ultimately becomes an effort to turn 45 minutes of story into 100-plus minutes of movie.

Monday, 05 April 2021 15:07

Saddle up with ‘Concrete Cowboy’

Written by Allen Adams

One of the great things about the world in which we live is that there’s room for all manner of interests and identities. No matter how niche and/or unlikely the pursuit, there will be others who share feelings about it.

These subcultures sometime surface in mainstream awareness, but others simply go on, whirring along beneath the zeitgeist for decades. And again, no matter how incongruous and unlikely they may sound, they are very real and very important to those whose passions they reflect.

“Concrete Cowboy,” the new Netflix film directed by Ricky Staub, is the story of one such subculture. Adapted by Staub and Dan Walser from Greg Neri’s 2011 novel “Ghetto Cowboy,” it’s the story of a multigenerational group of horse enthusiasts operating out of inner-city Philadelphia. Through their connection to horses, these people find what they need.

(It’s worth noting that several supporting roles are played by real-life members of Fletcher Street Stables, the group upon whom Neri’s novel was largely based.)

It’s also the story of a young man who is thrust into the midst of this world, left to contextualize it alongside his own sphere of understanding, introduced into it all by the father who is all but a stranger to him. But even with influences tugging from all sides, he is the one who ultimately must make the decision about the man he wants to become.

Thursday, 01 April 2021 15:17

‘Godzilla vs. Kong’ a satisfying title fight

Written by Allen Adams

If you want to argue that too many of today’s blockbusters spring from blown-out franchises and IP cinematic universes, I’m not going to stop you. It’s clear that big-budget moviemaking has become almost exclusively a realm of CGI and superheroes and the like. Everything is loud and overlarge. It’s a fair point.

Counterpoint: Sometimes you just want to see giant monsters fight.

“Godzilla vs. Kong” is the fourth entry in the Warner Brothers self-styled MonsterVerse (it’s also the 36th Godzilla movie and the 12th King Kong movie, if you’re into that sort of thing), bringing together these heavyweights of giant monster cinema. Directed by Adam Wingard and currently available both in theaters and via HBO Max, it’s the sort of lumpy tentpole sequel that slots nicely into the overall development of the franchise. It’s big and a little convoluted and quite fun, albeit maybe just a little stingy with the aforementioned monster fighting.

It’s a big swing at progressing the overall universe even as it gives audiences the showdown they want. Whether those efforts at expansion prove fruitful remains to be seen – things get a little muddy and tough to follow in spots – but it’s a valiant attempt. And while some of the narrative subplots don’t work as well as others, the overall payoff is worth it.

Monday, 29 March 2021 16:04

To Paris with love – ‘French Exit’

Written by Allen Adams

Most of the time, movies are relatively straightforward. Sure, you have your odd arthouse auteurs and the like, but usually, films work in the way you expect. You go to a drama, you expect emotional impact. You see a comedy, you’re ready to laugh. You walk into a superhero movie, you get superheroes. Horror, scares. Thriller … thrills.

But every once in a while, you find a movie that gleefully upends your understanding of the world in which it operates. It doesn’t actually change anything, yet you’re left with fundamental questions about both what you’ve seen so far and what is yet to come.

That’s the kind of movie that you get with “French Exit,” a smart, engaging film directed by Azazel Jacobs from a screenplay that Patrick deWitt adapted from his own 2018 novel of the same name. It is a dry and witty comedy that takes a surreal turn, introducing strange and unexpected elements that nevertheless only serve to enhance the overall experience of the film.

With an absolutely exceptional cast led by Michelle Pfeiffer, this movie is not necessarily what you might expect it to be, but by subverting your expectations, it gives you an experience that is arguably far better than the one you thought you were getting.

Monday, 29 March 2021 16:02

‘Bad Trip’ more than lives up to its title

Written by Allen Adams

Sometimes, you just know it’s going to be bad.

You settle in and start watching and within a scant few minutes, you’re made painfully aware that the next hour-and-a-half is not going to be the good time that you expected it to be. You might say that, instead, you’re going to have a bad trip.

Or a “Bad Trip,” as it were.

That’s the title of a new Netflix movie starring Eric Andre, Lil Rel Howery and Tiffany Haddish. It’s a feature-length distillation of the weirdo cringe comedy ethos of Andre, directed by the comedian’s longtime collaborator Kitao Sakurai. Basically, it’s a collection of hidden camera stunts and pranks stitched together through a bare-bones narrative.

It’s … not great.

I’ll concede the very real possibility that this movie simply isn’t for me, that this brand of aggressive absurdism doesn’t push my humor buttons. That being said, “Bad Trip” is less a movie than a deluge of self-harm and personal space invasion that occasionally features some not-particularly good dialogue. Did I laugh? A couple of times, sure, but nearly enough to justify the time spent watching something that, when boiled down, is simply a few comedians dicking around.

Monday, 29 March 2021 16:00

‘Senior Moment’ definitely forgettable

Written by Allen Adams

While I wouldn’t consider myself a connoisseur of old person comedies necessarily, I do carry a vague appreciation for them. Or maybe affection is a better word – there’s something about watching old pros just hang out, even if the world they’re in seems built by an AARP focus group. They don’t have to be good to charm me, is what I’m saying.

A perfect case in point is “Senior Moment,” starring William Shatner himself. There’s a lot wrong with this movie – there’s a stiffness to the dialogue, inconsistency and odd choices with the camera and a weird credulousness throughout – but watching Shatner, as well as his co-stars Christopher Lloyd and Jean Smart, just doing what they do in a very low-key, low-stakes manner is fun.

Justice for the Justice League!

Specifically, for director Zack Snyder’s vision of the team – a vision that was undeniably disrupted by the circumstances surrounding 2017’s “Justice League.” When personal issues led to Snyder’s walking away from the project during post-production, replacement director Joss Whedon wound up putting his own very distinct stamp on the proceedings … for better or worse.

Mostly worse, as it turns out.

But now, in what is a first in the vast and varied world of big-budget superhero cinema, we’ve been given a chance to experience something far closer to Snyder’s original intent – a do-over. Thanks in no small part to massive internet outcry from fans, the powers that be at HBO gave the keys back to Snyder (as well as a hefty budget, around $70 million) to turn the film back toward his original intent, retrofitting and reshooting and ultimately restoring Snyder’s vision.

The end result is “Zack Snyder’s Justice League,” a four-hour extravaganza that far outshines the film that came before it. It’s better. A lot better. Now, if you want to argue that it’s bloated and unnecessary, I won’t fight you. Think a dangerous precedent has been sent regarding the power potential of dedicated fandoms, no matter how potentially toxic? Could be. None of that changes the fact that this new film, as overwrought and overproduced as it may be, is a significant improvement.

It’s got many of the usual issues that dog Snyder’s work – the washed-out color palette, the ubiquitous slo-mo, the jittery, hard-to-follow battle scenes – but even those concerns are lesser here than they’ve been in previous films. And the storytelling gains – particularly when it comes to certain character arcs – more than offset all of that.

For me, it boils down to this. I basically shrugged my shoulders at “Justice League” in 2017. I genuinely enjoyed “Zack Snyder’s Justice League” … and I really wasn’t sure that I would.

Monday, 22 March 2021 15:24

‘Happily’ never after

Written by Allen Adams

Most of the time, the media we consume – movies, books, TV, music – fits comfortably within the confines of description. That is, we can pretty easily define what kind of film or book or show or song we’re experiencing; even the stuff built on genre cross-pollination can be described reasonably succinctly.

Occasionally, though, we get something that doesn’t quite fit into one or two categories. Something that is many different things at once while also being essentially its own thing.

“Happily,” written and directed by BenDavid Grabinski, checks a LOT of different genre boxes, but does so in a way that is appealingly messy. There’s a fundamental shagginess to the film, born of the filmmaker’s clear desire to take a kitchen sink approach to tone and type. And the film really does have it all – romance and dark comedy and speculative undertones and relationship drama – but in the course of doing so, it sometimes loses its way.

That said, we’ve got a dynamite cast, some killer aesthetic choices and visual styling and an obvious willingness to let things get weird. It’s a film where you might THINK you know what you’re getting into, but you don’t. Not really. And that’s (mostly) a good thing.

<< Start < Prev 1 2 3 4 5 6 7 8 9 10 Next > End >>
Page 1 of 67

Advertisements

The Maine Edge. All rights reserved. Privacy policy. Terms & Conditions.

Website CMS and Development by Links Online Marketing, LLC, Bangor Maine