Tell me you’re making a political movie without telling me you’re making a political war movie without telling me you’re making a political war movie. Civil War, Alex Garland’s (Annihilation, Ex Machina) newest film in which The United States has become even more divided and intense than at the time of its 2024 release, serves as an ominous narrative about the potential future of our country. While it’s sure to be divisive, Garland is purposefully vague about the two sides while not taking a side. Outside of Dune 2, Civil War is the film that received the most buzz after the first four months of the year. Rightfully so.
Category Archives: Genre
A Good Person (2023)
More often than not, I enjoy movies, television shows, books, and music dealing with addiction. When a show, a song, an autobiography, etc., effectively chronicles the compulsive and desperate realities of substance abuse, I will give it my undivided attention. When a character adeptly captures the euphoria of being drunk, high, or stoned, followed by the bleak and inpatient hopelessness that awaits when that high wears off, I am reminded of how prevalent, powerful, and relentless addiction is. Two critically limited series (Dopesick – 2022 and Painkiller – 2023) brought pharmaceutical pill addiction to the forefront in ways that film or television hadn’t before. The ability to tell an addiction story over 8-10 one-hour-long episodes allows a director more opportunity to delve into the depths of the disease while allowing for deep character examinations. That is not to say that a film centered on addiction can’t be captivating. Numerous examples have shown this. Unfortunately, Zach Braff’s (Garden State, Wish I Was Here) well-intentioned A Good Person was not one of them.
The Promised Land (2023)
Killers of the Flower Moon meets Braveheart with elements of The Patriot and The Revenant? I’m unsure where Nikolaj Arcel’s (A Royal Affair, The Dark Tower) The Promised Land falls when compared to these four powerhouse movies. It has elements of each of these films, yet still feels wholly unique. When Mads Mikkelsen (The Hunt, Another Round) is the lead actor, especially in independent movies filmed in his native Danish, it’s a near guarantee the film will be great.
Once (2007)
I’ve watched John Carney’s (Begin Again, Sing Street) Once in its entirety three times. I saw it in 2007 during its theatrical run. I saw it another time between that and my 2024 rewatch. I have felt myself connecting with it less with each subsequent viewing, yet appreciating it more. What is ironic is that when I first saw the film, it felt like an original masterpiece, and I don’t feel that anymore. Perhaps that was because I needed to see more movies that followed a fairly generic formula. Or maybe it was because I’ve seen too many films that have followed that blueprint, making Once feel less original than I initially thought. As I write this review, I try to balance that original perception against how I react to the film 14 years later.
The Zone of Interest (2023)
Often, I like to go into a movie as blind as possible. I do this even more for Oscar-contending films, which are traditionally more artsy, independent, symbolic, innovative, or daring. It can be hit or miss. When it hits, it’s unforgettable. When it misses, I spend my time glancing at the time on my phone, wondering when the borefest will finally end. I am glad I didn’t approach Jonathan Glazer’s (Under the Skin, Birth) fearless The Zone of Interest.