Following his overly complicated spy thriller Tenet, Christopher Nolan returns to cinema’s with a booming biopic about the modern Prometheus, J. Robert Oppenheimer. Epic in scope but intimate in feel, Oppenheimer boasts Nolan’s most explosive ensemble cast to date and creates a stimulating historical thriller that rattles and shakes with compelling contemplation.
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Director Olivia Wilde tries to go big with her sophomore feature, Don’t Worry Darling, but her efforts amount to an extravagant bore. It’s pretty to look at, but like the film goes to show you (and as the old saying goes), looks can be deceiving. Unfortunately, this “through-the-looking-glass” tale is familiar, dimwitted, and predictable. It’s a far cry from Booksmart'‘s gut-busting good time — it just might be the biggest budget stinker of the year.
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Following her phenomenal debut, Lady Bird, writer/director Greta Gerwig sets her sights on another coming-of-age tale. Classic and timeless, Little Women has long been a passion project for the breakthrough filmmaker, and she brings her effervescent charm, keen intellect, and personal artistry to table (along with a slew of world-class talent) to craft a sincere and heartfelt adaptation that feels fresh, nuanced, and surprisingly modern.
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Writer/director Ari Aster’s much anticipated follow up to last year’s phenomenally disturbed Hereditary is finally upon us. Midsommar, somewhat of a spiritual cousin to Hereditary, finds Aster probing deeper into the themes of loss, grief, and codependency, dragging the horror into the sunlight and letting the festivities run red with blood in this delightfully twisted adult fairytale.
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Stephen Merchant and Dwayne Johnson prove to be a palatable tag team, and their joint effort, Fighting with My Family, is a surprisingly effective underdog story that will potentially suplex the viewer with its tremendous heart and charm. It’s easily WWE’s best and most commercially viable offering to date, and one that’s sure to win over the uninitiated just as much as the diehard fanatics.
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Based of the 1865 Russian novella Lady Macbeth of the Mtsensk District, the film Lady Macbeth moves the novel's location to rural England in the mid-Victorian era where rebellion and sexuality were burgeoning. The film follows Katherine (played with brute force by Florence Pugh -- a name you should remember), who is plunged into a loveless marriage against her will to a bitter man twice her age where she is striped of pretty much all basic freedoms, playing second fiddle to the men of the house. This coldness and lack of love pushes her into the arms of one of the estate's workers, Sebastian (played by Cosmo Jarvis), a man who also defies the ways of the establishment, where her newfound affection drives her into severely increasing acts of violence.
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