The Goods: Film ReviewsOscar-bait dad movie, but the best kind: made by Spielberg and starring Tom Hanks, both of whom do excellent work. The narrative has a slightly awkward shift in the middle, and Kaminsky’s photography is classical, though dotted with his signature strong-extant-lights (e.g. lamps/windows) almost to the point of shtick, but it’s a really satisfying story of the fine line between duty to country and duty to mankind.
It’s amazing how things just work better when you cast Hanks as your lead. He grounds and brings depth to this period drama whose premise isn’t exactly my cup of tea. Greengrass is doing good work in keeping the tone gritty and visceral but never exploitative even at its most nihilistic (and, yeah, it goes dark a couple of times).
Fairly light for Spielberg, yet immensely entertaining as both a yarn and a character portrait. Hanks is the reason I watched it, but it’s really Leo’s movie, and it remains one of his best performances. Snappy and fun with just enough pathos. (I don’t care how true or false any of the claims are; they make a terrific film story.)
If you must build a movie around a single actor, it’s hard to imagine a better score than Tom Hanks circa 2000.
The most overrated Tom Hanks movie — I simply do not understand the enduring adoration of this one.
I can’t believe I’m doing this. Not just reviewing a Barbie fairy movie, but singing its praises.
When Cooper Raiff’s debut feature-length film, Shithouse, won the Jury Prize at the pandemic-truncated SXSW festival in March 2020, it represented the kind of meteoric rise to stardom that young filmmakers dream of.
Over the past ten years, major American animation studios (mostly excluding Walt Disney Animation Studios) have finally realized that the path forward to improving their visual language was not enhancing the photorealism of their animation.
Space is cool.
It’s not really possible to make a proper anti-capitalist film that’s also a summer tentpole created by Illumination Entertainment