Ford v Ferrari
Blinded by the Light
Forgot your password?
Don't have an account? Sign up here
Got more questions about news letters?
Already have an account? Log in here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Please enter your email address and we will email you a new password.
No user info supplied.
Best installment of the trilogy IMO. Where the first movie was more of a rich description of a criminal underworld, this one is more of a character study approaching muted, unresolved tragedy. Comic touches and conflicts develop an investment before a truly nasty 20-minute or so grisly segment.
It didn't really measure up to the Mexican original for me. Trying to think through whether the Electra complex stuff is interesting.
Not Chappelle's best work. There were some good bits, but the grumpy-40-something world-has-passed-me-by stuff that was kind of the central motif was just not that interesting.
Really powerful story overall, and I loved the dynamics between the female characters of different ages. Chuyia's character is great -- obviously dealing with a lot of horror in her life, but played in such a way that the survival and moments of joy and quickening interest stand out. The movie is at its best when it's refusing to be a tragedy and refusing a heroic happy ending, exploring the way these characters keep living after immense hardships.
I could have done without the overwhelming, iconic version of Gandhi. The young, Brahmin law student who kind of serves as a stand-in for Gandhi's politics throughout the movie also kind of serves as a savior figure who doesn't have much nuance. These characters are relatively depoliticized, to the extent that they are presented as the only alternative to backwardness; the shining future of India. Comparatively, the women were sapped of agency when next to them. The imagery was overpowering and kind of choking: the train going into the future, while Shakuntala is looking back to the past.
There was enough here to make me keep watching, clinging to the hope that there might be a decent movie under there somewhere. It never really materialized. I couldn't tell whether Walter was being played intentionally for laughs & as something of a weirdo or whether this was just a bad performance / script.
I feel like Steppenwolf was the most memorable part of this film. He wasn't quite wooden and comic enough to be so-good-he-is-bad, unlike Arnold Schwarzenegger as Mr. Freeze. (I realize many don't share my judgment of Mr. Freeze, but IMO that was a slightly more ham-handed and therefore entertaining portrayal. Steppenwolf had his moments where I *wanted* him to get there.)
The other memorable thing about this film is Batman as a total sadsack who is only saved from his own moroseness by moments of self-effacing irony. Was Ben Affleck just playing his own recent personal life instead of Batman? Again, I'm not sure whether it sort of worked or really was clunky, but it was a notably demythologized version of Batman.
The Flash was fun, and I wouldn't mind seeing an entire movie based on this actor doing this take of this character. Jason Momoa's schtik was out of sync with everything else happening in the movie in a way that was more jarring than fun. I also wouldn't mind seeing more of Cyborg.
There were some nice moments in Eastwood's performance. Generally I will watch and like anything by Clint. But the side issues here were just too numerous and distracting. Oh, only one of the Mexican characters is in any way a rounded human being! (And even he is secondary and unexplored.) Oh, there are random cameos where Eastwood helps a group of Dykes on Bikes fix their bikes and helps a couple of Black motorists fix a flat! He mis-hails both groups -- thinking the dykes are dudes, and calling the Black family "negroes." I've been willing to entertain some of Eastwood's exploration of race dynamics and age before, and to think that he was doing something interesting, but the scene with the Black family was just so gratuitous. Oh, there are even constant complaints about people being on their cell phones too much! I suppose with a little script work, these believable character flaws of an old white man could be offered up for reflection or even as part of the character's belated growth. But instead the directorial choices around these secondary issues just reinforce the character's point of view, while the character does get a belated-growth moment around reconciliation with his family. The final scene with his ex-wife was good enough to feel like this part of the character's arc was almost earned and worthwhile, but it made the lack of reflection on the other points more frustrating. They probably could have been edited out without much difficulty, but this feels like a low-ish budget, vanity project that didn't have many people rounding out Eastwood's vision. Most of the dialogue between secondary characters feels horribly wooden, even by actors with some real chops like Laurence Fishburne. Disappointing.
The backdrop / pastiche use of Japanese cultural items, in a jumbled fashion, by a white filmmaker bugged me. I am not a purist when it comes to cries of cultural appropriation, but I didn't feel Anderson did enough to earn a pass or do something really novel with that material. I wonder if I would have liked it better set in, say, LA, with stop motion aesthetics to match.