Chris Columbus’s approach to adapting the generationally important book series is certainly a bit broken as a film qua film.
Category: Review
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Esther Kahn (2000)
Esther Kahn is an unusual concoction of genres: both a backstage theater drama and a coming of age tale. And much of the film’s charm comes from the thematic richness blending and juxtaposing those genres and their usual outcomes:
A movie so hell-bent on recreating the original that it casts the same voice actress for the villain, gives her the same design (but skinny), and declares her a “sister.”
The first half of The Little Mermaid, in isolation, might be my favorite Walt Disney Animation Studios film.
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A Goofy Movie (1995)
When I watch The Goofy Movie, I become Anton Ego from Ratatouille after he takes that first bite — a crotchety old man brought back to his childhood with some “peasant food.”
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Parched (2015)
Parched tells the story of a group of Indian women in a rural desert community dealing with a regressive, sexually oppressed society. Marriages are arranged, men can sleep around but women must remain faithful and subservient, marital abuse is routine.
Part of me wants to be contrarian and rain on all the love this movie gets.
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Barrage (2017)
A depressed young woman gets pregnant during a rough patch in life, not even sure who the father is
I watched this as part of a virtual movie night with the Alternate Ending community, and it’s tough to imagine a movie more perfect for the format — giddy, over the top, packed with references and cameos, plenty to admire and make fun of, not remotely challenging but plenty clever.
Spencer Williams was an early Black filmmaker, a protege of the legendary Oscar Micheaux.