Editor’s note: A warm welcome to my friend, Simon Yang. This is his first piece for Review Film Review.
Recently I’ve started to pick some Australian films to watch, and Phillip Noyce’s Rabbit-Proof Fence (2002) stood out from a must-see list with its obscure title.
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Yet another entry in the genre of teenage coming-of-age films, Booksmart (2019), the debut directorial feature from Olivia Wilde, miraculously manages to stake out new ground. It feels fresh and original, mostly because it does well the postmodern trick of mixing and matching old forms.
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A critical darling, writer-director Greta Gerwig’s Lady Bird (2017) is good, but overrated. Curiously, its faults are also overrated, in that many are characteristic of its genre.
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First things first: Zombieland: Double Tap (2019) is worth a watch. With ten years’ acting experience and character familiarity on their shoulders, the four leads turn in better performances than last time, even if some (Emma Stone’s Wichita and Woody Harrelson’s Tallahassee) are better than others (Jesse Eisenberg’s Columbus and Abigail Breslin’s Little Rock—you can’t really blame Breslin, as the script treats her character as a MacGuffin most of the time). Speaking of the script, by Dave Callaham, Rhett Reese, and Paul Wernick, now that there’s less need to spend time on worldbuilding and forming character dynamics, this second installment can get right to the conflicts and character arcs and zombie-bashing setpieces. And that’s where it falters.
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James Gray’s Ad Astra (2019), co-written with Ethan Gross, is a stellar (sorry) achievement. Occupying the space orbited by Sunshine (2007), Blade Runner 2049 (2017), and Terrence Malick’s Voyage of Time (2016) (not Life’s Journey but the shorter version narrated by Brad Pitt), it succeeds where First Man (2018) fails, to symbolize one man’s traumatized state with the infinite void of space; and it stands in good contrast to Blade Runner 2049, which loaded the atmospheric gravitas onto various earthbound locations. The film also draws from Solaris (both 1972 and 2002) and Gravity (2013) for certain sequences. Brian Tallerico wrote a rave, as did Richard Brody. Pitt’s acting, the cinematography (by Hoyte van Hoytema), the production design (by Kevin Thompson), and the score (by Max Richter and Lorne Balfe) are all to die for. But it’s not a perfect film, knowingly eliding over its weak plot structure by deeming it “beyond the scope of this” film.
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Weathering with You (Tenki no Ko / 天気の子 2019), Makoto Shinkai’s new feature, is a strange beast. The trailer conveys it well: stunningly beautiful, but with two plotlines that seem to be on different planes altogether, to the point where the trailer can’t find a way to put them together. Also, the characterizations are lazy archetypes and many points of tension are artificial. I still enjoyed it though.
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Editor’s note: This piece is part of a series on the 2019 Taiwan International Queer Film Festival.
My Days of Mercy (2017), Tali Shalom-Ezer’s death penalty lesbian rom-com written by Joe Barton, is a strange bird. The basic structure is very similar to Up in the Air (2009), with Ellen Page playing the George Clooney audience surrogate role, and Kate Mara as the Vera Farmiga outsider role. But whereas that film used its downtime to explore the depths of the Clooney character’s loneliness (with the help of Anna Kendrick), here the second focus is a serious, nuanced exploration of the aftereffects of execution by the state (with the help of Amy Seimetz and an adorable Charlie Shotwell).
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Vampire films are inevitably an allegory for something or other, and Neil Jordan’s Interview with the Vampire: The Vampire Chronicles (1994) (which is told through an interview with a vampire), which Jordan wrote uncredited based on Anne Rice’s book and first draft, is no exception. Tom Cruise of all people plays the vampire Lestat, who turns Louis (Brad Pitt) out of loneliness, and saves the “life” of Claudia (an outstanding eleven-year-old Kirsten Dunst) by turning her as well—she becomes the daughter of the two men’s subtextual marriage. Strangely, Claudia’s also the only character with whom we can fully identify.
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I’m not gonna lie, Polder (2015), a Swiss-German co-production written by Samuel Schwarz and directed by Schwarz and Julian M. Grünthal, is a mess in three languages. The messy sci-fi has sequences in German, Japanese, and Chinese, but the incoherence has less to do with the multilingual conception and more to do with the complicated plot’s lack of context.
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In the spirit of our political age, I watched three political documentaries about prominent liberal American politicians (I vote Democrat, for what it’s worth); hagiographies they may be, but they still evince various degrees of insight.
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