The Goods: Film Reviews
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.
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.
At a basic level, The Debut presents a clear and effective metaphor:
I fear that I will never again be able to watch The Godfather with fresh eyes or a sense of wonder.
(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.)
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.
Valerie Taylor is an Australian marine conservationist, and her story is a pretty compelling one. First a competitive spearfisher, then a Hollywood consultant (including on Jaws!), then a public advocate for shark protection, she is the subject of TONS of archival footage of swimming and interacting with sharks, and now’s our chance to enjoy it all.