As the father of two daughters who love princess stories, Frozen is more of a utilitarian commodity to me than a piece of cinema.
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Frozen (2013)
Category: Review
Where The Little Mermaid 2 is content to retread the original’s story, but in reverse and less coherently and uglier, Ariel’s Beginning at least tries something new. It doesn’t exactly stick the landing, but I’d still put it in the upper half of Disney’s direct-to-video sequels.
What’s this? A film from the 1970s that treats homosexuality with nuance and earnest generosity, not as a big icky farcical hoot or a facade for depravity? To be fair, I am very much NOT up to speed on my queer cinema history, but given that this felt like a fair depiction in 2021, I can only imagine how progressive it was 42 years ago.
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Training Day (2001)
I’m not quite sure this movie realizes that it’s a neo-noir.
The Happiest Girl in the World is a simple, linear film taking place in one day and mostly one location. Despite its humility, I was on its comic and dramatic wavelength for most of its runtime, and got a pretty big kick out of it.
Jabberwocky is Terry Gilliam’s first solo directing effort and second overall after Monty Python and the Holy Grail.
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The Debut (1977)
At a basic level, The Debut presents a clear and effective metaphor:
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The Godfather (1972)
I fear that I will never again be able to watch The Godfather with fresh eyes or a sense of wonder.
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Snow Day (2000)
(Note 12/2022: I just want to say that the following review soft-pedals my affection for this movie. I will write something more effusive someday.)
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Let the Summer Never Come Again (2017)
This is the hardest time I’ve had slapping a rating on a movie in a long time, for the simple reason that I love its ambition and capital-V Vision, but can’t stand what it’s doing with those things.