Justin Kurzel's "Macbeth" is an ambitious, darkly comic and modernized Shakespeare adaptation celebrating the Bard's centuries-old legacy full of sound and fury signifying nothing. With first Shakespearean adaptation, Kurzel uses power of Cinema to awake timeless aura of a figure whose stanza has lost magic in modern era. Using gorgeous cinematography, Kurzel draws viewers into a power-hungry Scottish general's journey to conquer throne under mischievous wife's treachery. Inspired by Kenneth Branagh's "Henry V", Kurzel expertly uses pathetic fallacy weather to craft breathtaking battle sequences that honor source material. Whether it's gloomy skies or rainy days, weather plays a crucial role in evoking dark mood of the play. Kurzel showcases extraordinary control over production design, editing and music, creating Macbeth-nificent cinematic experience. It's hard to not praise phenomenal performances. Michael Fassbender gives one of his greatest career performances as Macbeth. With mesmerizing expressions, he conveys angst, desperations and resentments of Scottish general whose thirst for power leads to downfall. Marion Cotillard is also marvelous in role of a mischievous wife whose greedy personality leads toward tragedy downfall of her husband. Cotillard successfully conveys wife's power-dynamic over husband through commanding soliloquys. Although "Macbeth" is undeniably unforgettable literature adaptation, it isn't flawless. It's poorly paced, and lacks momentum of original play. Moreover, it struggles to translate complex soliloquys from stage to screen without awkward pauses. Nevertheless, fans of the original play will definitely enjoy "Macbeth" as will movie-goers seeking enthralling entertainment. Nearly 400 years after Shakespeare's career ended in Romeo-antic tragedies, hopefully it'll reawaken Banquo-et of interest in a poet whose soliloquys continue to mesmerize modern-day readers despite Me-Othello hearted criminals arguing his poems don't shine as brightly as royalties stolen by Merchant of Venice from families amidst feuding rivalries between circles of life dominated by Austen-ere authors putting up fight for women's' oppression against Pride and Prejudice reality catering to modern Sense and Sensibility.
Adam McKay's "Don't Look Up" is a bold, darkly comedic and scathing political satire that proves comedy is key to getting world that's often abided by policies of politicians that believe they can trump anything to treat global warming seriously. With his ninth feature, McKay utilizes power of Cinema to battle climate change stigma by conveying astronomer's dilemma. It's the filmmaker's first endeavor hypothesizing how the world may react in the face of climate catastrophe, but he accomplishes it effectively. Using captivating cinematography, McKay chronicles two anxiety-ridden astronomers' journey convincing world of climate catastrophes. Inspired by Christopher Nolan's "Inception", McKay effectively uses cross-cutting to juxtapose paranoia faced by media, astronomers and politicians in wake of global warming. McKay showcases immense control over production design, editing and music, creating unforgettable cinematic experience. It's hard to not admire terrific performance. Leonardo DiCaprio delivers one of his greatest career performances as Dr. Mindy. With Leonardo-hearted expressions, he conveys anxiety, desperation and resentment of an astronomer seeking to convince world of global catastrophe against media scrutiny. Jennifer Lawrence is equally fantastic in the role of a law-breaking scientist that isn't afraid to forecast to put American Hustle reputation on line to make Hunger Games climate predictions. Lawrence creates strong feminist female scientist through modulating vocal pitch. Concluding cast standout is Meryl Streep. As a politician with trumping superiority, Streep proves she hasn't lost flair for playing devilish women wearing Prada. Although "Don't Look Up" is undeniably unforgettable satire, ultimately it isn't flawless. It villainizes politicians, compelling viewers not to look up to political leaders without humanity. Moreover, it builds to a heavy-handed conclusion that preaches political message to choirs. Nevertheless, climate-change activists will enjoy "Don't Look Up" and so will movie-goers seeking enlightening entertainment. If democracy's still a word that exists in Clinton-ical dictionary of Gore-geous country blindly a-Biden-ing policies of politician cocksure he can Trump dr-Obama-tic environment catastrophe, it's time Hollywood finally listened to DiCaprio-cious scientists' 2012 prophecies foreshadowing deep impact meteors hitting Earth day after tomorrow giving Titanic passengers ample time to prepare before the flood despite Great Dictators arguing scientists need to stop worrying and love the bomb in 21st Century.
Steven Soderbergh's "Erin Brockovich" is an intimate, heartfelt and taut legal drama that offers eye-opening glimpse into a woman's fight against prejudiced legal system. With his ninth feature, Soderbergh crafted an illuminating legal drama about real-life woman's fight against environmental degradation that's stood test of time as modern-day classic. Using captivating cinematography, Soderbergh immerses viewers into an unemployed mother's journey battling energy corporations polluting the environment. Inspired by Gus Van Sant's "Good Will Hunting", Soderbergh effectively uses real-life locales across the United States to build true-to-life portrait of neighborhood. Soderbergh showcases extraordinary control over production design, editing and music, creating immersive cinematic experience. Soderbergh's screenplay is superb, using thought-provoking dialogue to create strong feminist female character. It's hard to not praise phenomenal performances. Julia Roberts delivers one of the best performances of her career as Erin Brockovich. With mesmerizing expressions, she conveys angst, desperation and resentments of an unemployed mother seeking to exterminate a law-breaking corporation. The supporting cast, headlined by scene-stealing Albert Finney, is also excellent and worthy of recognition. Although "Erin Brockovich" is undeniably an unforgettable legal drama, ultimately it isn't flawless. It's poorly paced, suffering from unnecessary romantic subplot that feels more appropriate for rom-com rather than legal dramas. Nevertheless, fans of courtroom dramas will definitely enjoy "Erin Brockovich" and so will movie-goers seeking enlightening entertainment. Nearly 30 years following Erin Brockovich sued malfunctioning energy corporations for environmental corruption, hopefully it will spark newfound interest in a feminist whose dedications towards saving ecosystem against intentions of money-making companies deserves to be celebrated today despite strict businessmen suggesting her scantily clad clothes make her a sexual object rather than inspirational heroine women look up to during 21st Century.
Jon Watts' "Spider-Man: No Way Home" is an action-packed, nostalgic and sweeping sequel that proves giving Oscorp-orate companies that don't always see eye to eyes equal piece of pie is greatest way to say goodbye to superhero swinging through sky. With his third Spider-Man venture, Watts swings Marvel's most Mary-Jane-lized series to satisfying conclusions by giving each iteration of Spider-Man satisfying redemption without venomous studio interventions. It's the Watts' first endeavor bringing Marvel's swinging superhero franchise to closure, but he accomplishes it seamlessly. Through spellbinding cinematography, Watts immerses viewers into the s-Parker-ling superhero's final journey to battle media scrutiny after public identity reveal. Watts effectively uses slow-motion shots showcasing Spider-Man's independent fighting skills using swinging styles reminiscent of Sam Raimi's "Spider-Man". Watts showcases extraordinary control over action sequence, editing and music, creating cobweb cinematic experience. Chris McKenna's screenplay is also sensational, showcasing Spider-Man's evolution from immature adolescent to level-headed superhero through hero's journey. It's hard to not marvel at Marvel-ous performances. Tom Holland delivers his greatest performance to date as Peter Parker. With Holland-mark expressions, he conveys angst, grief and desperation of superhero struggling to keep identities shrouded in secrecy. Zendaya is sensational in the role of a Mary-Jane-lized heroine whose efforts to conceal boyfriend's identity put her own safety in jeopardy. If Mary Jane was portrayed as helpless damsel-in-distress in previous iterations, Zendaya imbues feminism into character. The final cast standout is Willem Dafoe. Despite age, Dafoe proves he hasn't lost ability to terrify audiences through maniacal expressions. Although "Spider-Man: No Way Home" is undeniably unforgettable sequel, ultimately it isn't flawless. At over two and half hours, it suffers from extended running-time that tests viewer's patience. Moreover, it lacks most compelling villains of franchise. Nevertheless, fans of the web-slinging heroes will enjoy "Spider-Man: No Way Home" and so will moviegoers seeking exhilarating entertainment. If great power still comes with great responsibility for s-Parker-ling hero that's Mag-acquired capabilities to spin webs amidst battle-Garfields between companies throughout 60-year history, it's high time Sony settled for Civil War feuds with Oscorp-orate adversaries giving Mary-Jane-lized hero web-shooting capabilities without being consumed by venomous intervention despite Strange sorcerers with Hawkeyes for predicting future tragedies warning starkly wealthy superheroes with Hulk-ing au-Thor-ity aren't quite in Justice Leagues of Guardians of Galaxies.
Jon Watts' "Spider-Man: Far From Home" is action-packed, heartwarming and wildly entertaining sequel that proves the web-slinging hero hasn't lost his ability to marvel movie-goers despite Oscorp-orate studio rivalries. With second Spider-Man feature, Watts expands the web-slinging superhero's world through rich identity self-discovery. Through spellbinding cinematography, Watts immerses viewers into the s-Parker-ling hero's journey to confront Mysterio-us adversary on vacation to Italy. Watts' decision to shoot Spider-Man's action using aerial sequences above ground works immensely. Inspired by Sam Raimi's trilogy, Watts effectively employs aerial shots to showcase Spider-Man's newfound affection toward his superpowers. Watts showcases extraordinary control over action sequences, editing and musical score, weaving spectacular cinematic spin-off. It's hard to not marvel at Marvel-ous cast performances. Tom Holland delivers one of the finest performances of career as the web-slinging superhero. With mesmerizing expression, he signals adolescent angst, desperation and resentment of the high-school confronting alter-ego identity on a Mysterio-us trip to Italy. Zendaya is equally extraordinary in role of Mary-Jane-lized heroine that risks his own safety to keep boyfriend's identity secret. If previous iterations of Mary Jane portrayed her as damsel in distress, Zendaya brings female empowerment to character through strong demeanor. The final, most unforgettable standout is Jake Gyllenhaal. As the menacing villain Mysterio, he imbues shades of humanity into a multi-layered villain. Although "Spider-Man: Far From Home" is must-see for Spidey fans, ultimately it isn't flawless. It's goofy humor is slightly needless, more suited towards high-school specials rather than serious comic-book movies. Moreover, it builds to cliffhanger ending without satisfying resolution. Nonetheless, fans of the web-slinging hero will definitely enjoy "Spider-Man: Far From Home" and so will movie-goers seeking exhilarating entertainment. In an era of superhero fatigue, it's web-slinging sign Marvel's most friendly neighbor hasn't lost his abilities to marvel movie-goers through s-Parker-ling powers rather than his petered out exposure on world wide web despite Mysterio-us adversaries claiming it may be time for hero to hang up his suit and tie by publicly revealing identities to Oscorp-orate companies torn apart by Battle-Garfield rivalries Mag-acquired across centuries.
Steven Spielberg's "West Side Story" is an old-fashioned, nostalgic and heartwarming musical that proves Maria-ginalized Latin-American beauties deserve opportunities to feel pretty on west side storeys without being reprimanded by nannies. With his first-ever movie-musical, Spielberg breathes fresh gales of life into an o-Dorothy-ous genre by recapturing nostalgia of a forgotten era when America represented melting pot for the Latin-American diaspora. It's Spielberg's first attempt to re-contextualize a classic musical from Puerto-Rican perspective, but he pulls it off seamlessly. Using stunning cinematography, Spielberg draws viewers into two star-crossed lovers' short-lived romance whose destinies are crushed by gang rivalries. Inspired by Spike Lee's "Do The Right Thing", Spielberg expertly uses a confined neighborhood setting to evoke enveloping tensions between two gangs torn apart by rivalries. The real-life Puerto-Rican neighborhood locales lend cultural authenticity to the movie absent from the original 1961 classic. Spielberg showcases extraordinary control of craftsmanship over production design, musical sequences and score, creating Miranda-aculous cinematic experience. Tony Kushner's screenplay is also sensational, and expertly uses Spanish dialect to capture communion between Latin-American culture. It's hard to not marvel at Maria-valous performances. Whereas the 1961 original suffered from lack of Puerto-Rican talent, Spielberg wisely chooses actors that embody Latin-American community through Maria-culous cultural authenticity. Rachel Zegler delivers her finest performance to date as Maria. With mesmerizing expressions, she conveys angst, longing and resentments of a Puerto-Rican immigrant pursuing forbidden romance amidst jet sparks of gang rivalries. The supporting cast, which includes the scene-stealing Ariana DeBose is equally sensational, and worthy of awards-recognition. Although "West Side Story" is undeniably an unforgettable musical, ultimately it isn't flawless. At nearly two and a half hours, it's slightly overlong and undermined by an extended length that tests viewer's patience. Whereas this extended length worked in a live-musical play like Lin-Manuel Miranda's "Hamilton", it detracts from this film's sense of urgency and momentum. Nevertheless, fans of the musical will enjoy "West Side Story" and so will movie-goers seeking joyous entertainment. Nearly 60 years after ena-Moreno-ed Latin-American beauties were rejected opportunities to feel pretty by i-Rita-ble rumble rivalries somewhere in West Side Storeys, it's swing time Hollywood honored classic by allowing Hispanic celebrities to orchestrate melodious Sounds of Music symphonies for Moulin Rouge nightclub parties in the La La Land of opportunities despite Simmons-ering band-teachers demonstrating whip-smart-lash drum beats don't match my fair lady complexion of Mary Poppins nannies after winning beauty pageant contests at world-famous hairspray galleries.
Robert Wise's "West Side Story" is an old-fashioned, nostalgic and sweeping musical that showcases the sky-scraping west side storeys musicals climb when addressing conflicts important to Latin-American communities. With his Oscar-winning musical, Robert Wise crafted a mesmerizing musical that's stood the test of time as a classic made to make Latin-Americans feel pretty. Using spellbinding cinematography, Wise immerses viewers into a pair of star-crossed lovers that ignite romance amidst gang rivalries jet sparks in New York City. Wise effectively employs long tracking shots to stage immersive musical numbers showcasing the Puerto-Rican gangs' tightknit camaraderie. Wise showcases extraordinary control of craftsmanship over production design, editing and music, creating unforgettable cinematic experience. Ernest Lehman's screenplay is also sensational, and expertly uses omniscient narrative to create parallels between two gangs on opposing ends of families. It's hard to not admire extraordinary performances. Natalie Wood gives one of the best performances of her career as Maria. With captivating expressions, she captures affections, frustration and longing of love-struck Puerto-Rican woman whose destiny is doomed to tragedy by gang rivalries. Rita Moreno is remarkable in the role of a confidante woman seeking to keep her friend's love-affair alive despite gangs rivalries. Moreno proves to be a triple-threat singer, dancer and actress with aptitude for stealing every scene she's in. The final, most unforgettable standout is George Chakiris. As the villainous leader of Sharks, he brings palpable menace to the movie. Although "West Side Story" is undeniably ena-Moreno-ed musical, it isn't flawless. Looking back in hindsight, there are aspects of the film that appear not to have aged so well over time. For instance, brownface casting turns Latin-American communities into stereotypes rather than real-life people. Nevertheless, Broadway fans will definitely enjoy "West Side Story" and so will moviegoers seeking enjoyable entertainment. Nearly 60 years after ena-Moreno-ed Latin beauties were made to feel pretty somewhere in New York City rumble gang rivalries, it remains a timeless reminder that Latin-Americans deserve to conduct Sound of Music symphonies on Moulin Rouge nightclubs in La La Land of opportunities despite their darkened skin not matching my fair lady face of Mary Poppins nannies after beauty pageant contests at hairspray galleries.
Ridley Scott's "House of Gucci" is an ambitious, informative and sweeping historical biopic that proves Laurel-led business families deserve driver's seat opportunities to Chanel gran-Dior-se personalities in catwalk ceremonies. With his first fashion biopic, Ridley Scott confidently catwalks down Gucci memory lane by charting the celebrated business family's declining fame from being household name to becoming an object of shame. It's the filmmaker's first attempt to dramatize the downfall of the renowned fashion business through crimes committed by a dame, but he pulls it off effortlessly. Using spellbinding cinematography, Scott immerses viewers into a manipulative fashion diva's journey to achieve financial control over her fashion business family. Scott's decision to shoot the film in various locales across Italy is risky, but it works immensely. Inspired by Francis Ford Copolla's "The Godfather", Scott effectively uses various locales across Italy to capture the Gucci family's close connection with its country. Scott showcases immense control over production design, costumes and music, using these elements to create a Giorgio-ous cinematic experience. It's hard to not praise phenomenal cast performances. Lady Gaga delivers her greatest performance to date as Patricizia Reggiani. With mesmerizing expressions, she conveys angst, jealousy and conniving schemes of a fashionista that conspires to achieve financial control over her husband's business family. Adam Driver is equally astonishing in the role of street-smart businessman whose aims to achieve fortune and fame and threatened by bad romance with his old flame. Driver brings shades of humanity to a naïve outsider that transforms into a Michael Corleone-like businessman. Although "House of Gucci" is undeniably a giorgio-ous historical biopic, ultimately it isn't flawless. It's unevenly paced, and undermined by excessive length that loses focus through unnecessary time-jumps. Furthermore, it villainizes celebrated figures of a renowned business family through exaggerated impersonations (ex. Jared Leto). Nevertheless, fans of Gucci family will enjoy "House of Gucci" and so will movie-goers seeking enlightening entertainment. Nearly 30 years after bad romance led to the untimely death of a shallow fashion icon on the edge of glory, it's high time that Hollywood did Gucci a simple favor by af-Ford-ing offers it can't refuse from Godfather gangsters to engage interest in laurelled family by chanel-ing Giorgio-ous personalities despite robberies pulled off by Ocean's 8 beauties suggesting their phantom thread abilities are useless after funny face stumbles at catwalk ceremonies.
Reinaldo Marcus Green's "King Richard" is an inspirational, heartwarming and soulful sports biopic that proves margaret-inalized families deserve opportunities to conquer tennis courts to serenade support for daughters' victories in white-dominated sports. With his third feature, Green issues belated apology to a sports prodigy whose creed sowed seed for a dying breed of black athletes to succeed in a white-dominated field. Using mesmerizing cinematography, Green immerses viewers into a father's journey to guide his tennis prodigy daughters towards Wimbledon victories. Inspired by John G. Avildsen's "Rocky", Green expertly uses hand-held cameras to recreate underdogs' fight against a prejudiced sports system. Green showcases extraordinary control of craftsmanship over production design, editing and music, using these elements to create an unforgettable cinematic experience. It's hard to not praise serena-diptious cast performances. Will Smith delivers one of the best performances of his career as Richard Williams. With mesmerizing expressions, he conveys bravery, determination and perseverance of a father that goes through great lengths to ensure his daughters' pursuit of happiness above all else. The supporting actors, led by heartfelt Aunjanue Ellis, is also excellent and worthy of recognition. Although "King Richard's" undeniably unforgettable biopic, ultimately it isn't flawless. In telling Richard's story, it blindsides the personal experiences of his daughters off the tennis court. Moreover, it builds to a sentimental triumph-overcomes-adversity conclusion that sugar-coats African-American athletes' struggles during an era of racial tensions. Nevertheless, fans of sports biopics will definitely enjoy "King Richard" and so will movie-goers seeking exhilarating entertainment. Like Costner-nated farmers haunted by voices in their heads directing them to create field of dreams for sport families, it's high time Hollywood remembered the titans by honoring a Cinderella man's invincible fights for million-dollar baby daughters' raging bull victories over Apollo-getic boxing champions despite 1960s basketball diaries created by riggs-ed coach carters claiming their pursuit of happiness isn't worth lauding in white-dominated major league ceremonies.
Shekhar Kapur's "Elizabeth" is an exquisite, heartfelt and sweeping period piece that offers insightful look into the queen's rise to power in 16th Century England. With his first English-language feature, Kapur crafted a gorgeous historical drama about reign of Britian's most golden age queen. Using spellbinding cinematography, Kapur draws viewers into a queen's rise to conquer thrones in 16th Century Britian. Kapur's choice to shoot the movie using natural lighting is risky, but it works immensely. Kapur uses natural lighting to immerse viewers into the eponymous queen's reign. Kapur displays immense control over production design, editing and music, using these elements to craft an unforgettable Elizabethan biopic. Kapur's screenplay is also sensational, and expertly uses non-linear storytelling to convey the queen's horseback riding rise to power across centuries. It's hard to not admire phenomenal performances. Cate Blanchett delivers one of the finest performances of her career as Queen Elizabeth I. With mesmerizing expressions, she conveys the desperation, elegance and resentment of a legendary queen that strives to conquer male-dominated thrones in 16th Century England. Joseph Fiennes is also fantastic in the role of a suitor that begins a forbidden affair with the queen against societal rules. Fiennes brings sexual tension to the movie in one of his finest performances. The final actor standout is Geoffrey Rush. As a mischievous servant that conspires against the queen, he brings an air of suspicion to the movie. Although "Elizabeth" is undeniably an unforgettable period piece, ultimately it isn't flawless. It's unevenly paced, lacking momentum in its depiction of a queen's rise to power. Moreover, its undermined by an unnecessary romance subplot that reduces the queen into love interest rather than sovereignty. Nevertheless, royal family fans will definitely enjoy "Elizabeth" and so will movie-goers seeking old-fashioned entertainment. Nearly 20 centuries after queen elizabeth first rose to power, hopefully it will re-andrew new-found interest in a golden age personality that summoned william-power to fight for womens' rights during a bygone century when they were considered simple-middle-ton property with sp-markling bodies pried upon by care-charles-less majesties.
Pablo Larrain's "Spencer" is an intimate, heartbreaking and thought-provoking biopic drama that proves diana-mond jewelries adorned by Elizabethean royalties sp-markle most brightly when their memories aren't tarnished by hai-rry historical liberties. With his second biopic, Larrain pays tribute to a legendary icon by showing how a princess once captured the public's imagination through victories over depression rather than tragic tabloid news victimization. It's the filmmaker's first attempt to dramatize a royal family celebrity's experiences from a psychological perspective, but he accomplishes it seamlessly. Using captivating cinematography, Larrain draws viewers into a royal princess' battle against bulimia on a private Christmas vacation. Larrain's decision to shoot the film within a single confined palace setting is risky, but it works immensely. Larrain expertly employs the confined setting to convey claustrophobia and tension faced the royal princess. Larrain showcases extraordinary control over production design, editing and music, using these elements to create a memorable cinematic experience. Steven Knight's script is also sensational, and expertly uses unreliable narration to place viewers into the psychological mindset of a princess that isn't able to distinguish between dreams and reality. It's hard to not praise phenomenal performances. Kirsten Stewart gives her finest performance to date as Princess Diana. With spellbinding expressions, she conveys the angst, loneliness and depression of a royal princess that yearns to be freed from shackles of monarchy captivity. The supporting cast, including scene-stealing turns from Timothy Spall, is also phenomenal and deserves appreciation. Although "Spencer" is undeniably a powerful biopic, it isn't flawless. It villainizes the royal family by placing the blame squarely on their shoulders for Diana's hardships. Moreover, it builds to an exaggerated fairytale ending that sugarcoats harsh reality of Diana's life. Nevertheless, fans of the famous princess will definitely appreciate "Spencer" and so will movie-goers seeking enlightening entertainment. As candles in the wind honoring a Diana-mond in the rough legacy, hopefully it will re-andrew newfound interest in the royal family's other Boleyn girl that yearned to be crowned as queen of people's hearts despite stuttering king's speeches proving her princess diaries are better left untouched by social network agencies that have bro-kennedy-ed first lady's hearts at funeral parties.
Terence Davies' "A Quiet Passion" is an intimate, heartbreaking and thoughtful biopic honoring the legendary poetry of renowned poet Emily Dickinson. With his first biopic, writer/director Terrence Davies created a gorgeous period piece about life and times of a poet whose writings were't always recognized during her century. Using gorgeous cinematography, Davies draws viewers into the whimsical world of a poet that strives to gain recognition for her literature in 19th Century America. Davies' decision to film the movie using natural lighting is risky, but it works tremendously. Davies expertly uses natural lighting to recreate the imaginative world of a thoughtful poet. Davies showcases immense control over production design, editing and music, crafting an unforgettable cinematic experience. Davies' screenplay is also sensational, and ingeniously uses voice-over poetic narration to honor the beauty of Emily Dickinson's poetry. It's hard to not admire astonishing performances. Cynthia Nixon delivers one of the best performances of her career as Emily Dickinson. With mesmerizing expressions, she conveys angst, loneliness and eloquent-spoken manner of an aging poet whose writing experiences declines in 19th Century America. Jennifer Ehle is equally excellent in the role of a worrisome woman caring for her dying mother. Despite minimal dialogue, she conveys strong emotions through quietly passionate expressions. Although "A Quiet Passion" is undeniably an unforgettable period piece, ultimately it isn't flawless. It's unevenly paced, moving at a monotonously quiet pace that lacks the passion of its fascinating subject. Moreover, it builds to abrupt conclusion that lacks satisfying resolution. Nonetheless, fans of famous poet will definitely enjoy "A Quiet Passion" and so will movie-goers seeking meaningful entertainment. In celebration of Dickinson's recent 200th death anniversary, it remains a timely tribute to an artist whose timeless poems that stop hearts from breaking today aren't in vain despite being buried in dusty Dickensian books forgotten over pride and prejudiced centuries.
Ridley Scott's "The Last Duel" is an old-fashioned, empowering and soulful historical epic that showcases honorable pedigrees camelot castles achieve when women are rewarded opportunities to hold knights of the round table accountable for deplorable gender disparities. With his twenty-sixth feature, director Ridley Scott draws dueling daggers against myths about Middle Ages' misogny between showcasing similarities between treatment of women in medieval history and contemporary #MeToo Century. It's the filmmaker's first attempt to adapt a true medieval story about rape from a feminist perspective, but he accomplishes it seamlessly. Using captivating cinematography, Scott draws viewers into a women's struggles to seek justice for sexual assault in 19th Century France. Scott's decision to shoot the rape sequences from the viewpoints of both men and women is risky, but it works immensely. Scott effectively uses the two vantage points to emphasize the sexual trauma of assault in medieval century. Scott shows extraordinary control of craftsmanship over production design, action and music, using these elements to craft an immersive medieval experience. It's hard to not marvel at performances from the cast. Jodie Comer delivers one of the best performances of her career as Margeurite de Carrouges. With mesmerizing expressions, she captures the bravery, perseverance and righteousness of a sexual assault survivor that refuses to follow societal norms. Adam Driver is equally astonishing in the role of a scheming squire whose squeaky-clean reputation is mired by dire sexual assault backfire. In one of his greatest roles, Driver imbues shades of sympathy into a heinous sexual assault perpetrator. The final, most notable standout is Matt Damon. As a knightly husband that seeks justice for his wife, he brings regal nobility to the movie. Although "The Last Duel" is undeniably unforgettable, ultimately it isn't flawless. It's poorly paced, and undermined by repetitive Rashomon-style structure. Moreover, it suffers from a dearth of compelling male character development. Nevertheless, fans of historical epics will definitely enjoy "The Last Duel" and so will movie-goers seeking sweeping entertainment. As commodus-anding monarchies that aren't entertained by female last duel victories, it's high time Hollywood stopped art-huling excalibur machetes at bravehearted beauties by dis-parta-cussing their holy grail victories in kingdom of heaven countries despite ten commandement testimony claiming their never-ending assault stories have been des-troy-ed by seven samurai enemies.
Kenneth Branagh's "Henry V" is an ambitious, exuberant and sweeping historical epic that offers one of the most effective adaptations of Shakespeare's famous play. With his directorial debut, Branagh crafted a rousing adaptation of William Shakespeare's timeless play that has stood test of time as a classic. Despite being his first foray into the world of Shakespeare, Branagh showcased extraordinary strength in his directrial debut. Using captivating cinematography, Branagh draws viewers into the courageous majesty's journey to claim his throne in 15th Century. Branagh's decision to shoot the movie in real-life locales across England is risky, but it works immensely. Branagh demonstrates immense control of craftsmanship over production design, action sequences and music, using these elements to craft a definitive Shakespeare adaptation. Branagh's screenplay is also sensational, and expertly translates dramatic monologues from the famous play to screen. It's hard to not praise phenomenal performances. Kenneth Branagh delivers one of the best performances of his career as King Henry V. With stirring expressions, he captures the determination, nobility and lifelong resentments of a majestic king that strives to reclaim his throne amid war-torn England. Emma Thompson is equally excellent in the role of a newlywed woman with apprehensions about becoming a queen. In one of her first roles, Thompson showcases glimpses of the alluring actress she'd become later on in her career. The final, most notable standout is Paul Scofield. As the majestic Charles IV, he brings regal royalty to the movie. Although "Henry V" is undeniably a memorable adaptation, ultimately it isn't flawless. It's unevenly paced, and lacks momentum in sequences marked by the absence of Henry V. Moreover, it's undermined by unnecessary voiceover narration from a legendary actor telling rather than showing story. Nevertheless, fans of the iconic play will certainly enjoy "Henry V" and so will moviegoers seeking old-fashioned entertainment. In a century when modern audiences seem to have forgotten William Shakespeare, hopefully it will spark newfound interest in the mag-cbeth-nificent stories of English literature's most belov-hamlet-ed scribes even if his works are hidden othe-bel-low centuries.
Denis Villeneuve's "Dune" is an ambitious, thought-provoking and sweeping sci-fi epic that showcases sparkling stars that align when beauty of Middle Eastern culture isn't buried beneath dusty wars in faraway galaxies. With his tenth feature, Villeneuve runs sharp blades across post 9/11 mythologies by drawing rich analogies with centuries-old Islam history of one of the world's most misunderstood countries. It's Villeneuve's first attempt to reinventa classic book from an Islamic perspective on the big-screen, but he pulls it off seamlessly. Using captivating cinematography, Villeneuve draws viewers into space odyssey a heroic heir takes to save his planet's resource-rich spice commodity. Villeneuve's decision to shoot the film in real-life locations across the Middle East is risky, but it pays off tremendously. Inspired by David Lean's "Lawrence of Arabia", Villeneuve effectively employs authentic Arab locales to create rich cultural authenticity seldom seen in sci-fi movies. Villeneuve showcases immense control over action sequences, produ-ction design and music, crafting a memorable cinematic experience. Villeneuve's screenplay is also sensational, and effectively uses a dream-flashback structure to convey a messiah's journey. It's hard to not praise phenomenal cast performances. Timothee Chalamet delivers his finest performance to date as Paul Altreides. With mesmerizing expressions, he captures anger, determination and self-doubts of an inquisitive family heir that seeks to savehis resource-rich planet. Rebecca Ferguson is also remarkable in the role of a tormented mother that puts her life on the line to protect her son. The final standout in the cast is Oscar Isaac. As a duke that doubts his son's heroism, he brings paternal affections to the movie. Although "Dune" is undeniably an unforgettable sci-fi epic, ultimately it isn't a flawless film. It's dustily paced, and loses momentum towards the end. Moreover, the film builds to a head-scratching ending that seems intended solely to setup a sequel. Nevertheless, fans of the celebrated novel will enjoy "Dune" and so will movie-goers seeking thought-provoking entertainment. As rebel alliances that've often underestimated powers of invader empire foreigners, it's high time Hollywood awakened to force of one of the world's most alien-ated countries by opening planet of apes' pod doors to Muslim communities even when their victories over terminator-ed fatherly adversaries have been considered flukes since inception of 9/11 ideologies.
Irvin Kershner's "The Empire Strikes Back" is an ambitious, heartfelt and soulful sci-fi classic that stands the test of time as crowning jewel of the Star Wars franchise. With the second Star Wars film, Kershner took the series in a dark direction by expanding on the timeless themes of the original. Using spellbinding cinematography, Kershner draws viewers into an apprentice's journey towards conquering his invasive enemy in a far-away galaxy. Kershner's decision to employ practical effects over CGI to recreate cartoonish characters pays off tremendously. It lends authenticity and realism to the movie's motion-capture characters missing from recent entries in the franchise. Kershner showcases extraordinary control over production design, action sequences and score, using these elements to create an unforgettable cinematic experience. Lawrence Kasdan's screenplay is also superb, and expertly utilizes cross-cutting storytelling to convey a Jedi's quest towards glory. It's hard to not admire phenomenal performances. Mark Hamill delivers one of his greatest career performances as Luke Skywalker. With spellbinding expressions, he conveys determination, heroism and parental regrets of a novice jedi that struggles to come to terms with his mysterious ancestry. Harrison Ford is equally fantastic in the role of a suave smuggler that relies on wits to outsmart enemies in the galaxy. Ford brings undeniably stylish swagger to one of his most iconic roles that turned him into a star. The final, most noteworthy standout in the cast is James Earl Jones. As the menacing Sith Lord Darth Vader, he brings shades of sympathy to one of the most reprehensible movie villains. Besides technical aspects, the final component of "The Empire Strikes Back" that contributes to its success is its message. Unlike other films in the franchise, the movie tackles emotional themes of destiny, legacy and parental regrets that make it the most meaningful Star Wars movie. Nearly 40 years after its release, it remains a sparkling lightsaber whose force inspires movie-goers to trek across galaxies in soaring millenium falcons even if shocking secrets about father figure enemies are written in their phantom of menace destinies.
Cary Joji Fukunaga's "No Time to Die" is an action-packed, empowering and heartfelt espionage thriller that brings Britain's longest-running franchise to satisfying curtain call closure rather than demise by giving women their own place of paradise. With his first Bond big-budget movie, Fukunaga stirs fresh feminist sensibilities into a shaken franchise by giving women opportunities to showcase money-penny fighting abilities rather than flaunt promiscuous pussy-galore bodies. It's the filmmaker's first attempt to modernize Britain's mysoginist spy through feminism for the #MeToo generation, but he pulls it off seamlessly. Using gorgeous cinematography, Fukunaga draws viewers into the famous spy's final globe-trotting journey. Fukunaga's decision to shoot the movie using hand-held cameras is risky, but it works tremendously. Whereas previous James Bond films objectified women through close-ups on their bodies, Fukunaga uses hand-held cameras to showcase womens' fighting skills rather than sexuality. Fukunaga showcases dazzling control over production design, action sequences and music, using these elements to craft an unforgettable Bond film. Fukunaga's screenplay is also sensational, and expertly employs witty dialogue to convey frictions in gender equality between Bond and his female rival. It's hard to not praise phenomenal performances from the cast. Daniel Craig delivers his greatest performance to date as James Bond. With mesmerizing expressions, he captures anger, frustrations and resentments of a world-weary spy on his final journey towards confronting mortality. Lashana Lynch is also luminous in the role of a female spy tasked with taking over Bond's position in the workplace. As the frontrunner female Bond, Lynch brings simmering feminist tensions into the franchise. The final, most notable standout is Lea Seydoux. As Bond's love-interest, she brings heartfelt emotion to the movie. Although "No Time to Die" is undeniably unforgettable, ultimately it isn't flawless. At over two hours, it suffers from a lengthy running-time that tests viewers patience. Furthermore, it lacks the franchise's most compelling villains with strong motivations. Nevertheless, fans of the franchise will definitely enjoy "No Time to Die" and so will movie-goers seeking enjoyable popcorn entertainment. If there's truly no time in the world for goldeneye to die, it's about time he appreciated womens' glimmering diamonds are forever abilities by lending them license to kill all-time high misogyny even when casino royale lotteries haven't been written in their destinies due to preferences for stirred over shaken martinis.
John Glen's "License to Kill" is an action-packed, thrilling and sleek espionage thriller that suggests there's room for darkness in a lighthearted martini franchise. With his fifth Bond feature, Glen stirred fresh darkness into the shaken James Bond franchise through a brooding espionage thriller. Using captivating cinematography, Glen draws viewers into the globe-trotting mission undertaken by a secret spy. Glen's decision to shoot the action sequences using handheld cameras is risky, but it works immensely. It lends palpable tension and suspense to the movie, putting viewers into the position of a vengeful spy. Glen showcases extraordinary control over production design, action sequences and musical score, using these elements to craft an unforgettable Bond movie. Michael Wilson's script is also sensational, and expertly employs non-linear flashbacks to reveal backstory behind a renowned spy. It's hard to not praise phenomenal performances. Timothy Dalton delivers one of his finest performances as James Bond. With mesmerizing expressions, he captures angst, bravado and lifelong resentments of an espionage agent on a death-defying mission to face mortality. Robert Davi is also remarkable in the role of a barbaric drug-dealer that seeks revenge at any cost. Dave interjects palpable tension into the movie through his intimidating expressions. The final cast standout is Talisa Soto. As James Bond's love-interest, she brings simmering sexual tension to the movie. Although "License to Kill" is undeniably a timeless espionage thriller, ultimately it isn't flawless. At over two hours, it suffers from a long running time that tests viewers' patience. Furthermore, its outdated 1980's soundtrack isn't as effective at building tension as other better films in the franchise. Nevertheless, fans of the famous spy will definitely enjoy "License to Kill" and so will movie-goers seeking exhilarating espionage entertainment. At a time when James Bond is more the connery-stone spy whose goldeneyes once pierced hearts, it remains a glorious reminder of a bygone era when the secret spy earned his license to kill from Russia with love through luminous diamonds is forever stories rather than misogyny.
Sergio Leone's "Once Upon a Time in the West" is an intimate, thoughtful and riveting spaghetti western that showcases the filmmaker's passionate love for the genre. With his fifth feature, Leone crafted a mesmerizing love letter to his favorite genre that has stood the test of time as a modern classic. Using spellbinding cinematography, Leone immerses viewers into the intense rivalry between two teams of gunslingers in a town in Wild West. Leone has always been an expert at employing extreme close-ups in his movies, and "Once Upon a Time in the West" is no exception. Leone effectively employs close-ups to convey heated rivalry between competitive gunslingers with nothing but hate for each other. Leone exhibits strong control over production design, editing and music, using such departments to craft an unforgettable cinematic experinece. Leone's screenplay is also sensational, and expertly uses subtle symbolism to give greater significance to oft-ignored objects in the Wild West. It's hard to not praise marvelous performances from the cast. Henry Fonda delivers one of the finest performances of his career as Frank. With alluring expressions, he conveys bravery, frustrations and resentments of a gunslinger that seeks revenge against his foes in the Wild West. Jason Robards is equally excellent in the role of an intimidating cowboy that inspires fear in the town without speaking a single word. Despite dearth of dialogue, Robards imbues intensity into the movie in one of his best roles. The final, most notable cast standout is Claudia Cardinale. As a seductive prostitute mistreated by men, she brings rare feminist energy to the male-dominated genre. Although "Once Upon a Time in the West" is undeniably an unforgettable classic western, ultimately it isn't a flawless movie. At nearly 3 hours, it suffers from an extended running-time that tests viewers' patience. While the film is never boring, certain scenes could have been trimmed to make a more engaging movie for modern audiences. Nevertheless, fans of classic westerns will definitely enjoy "Once Upon a Time in the West" and so will movie-goers seeking interested in old-fashioned entertainment. At a time when Westerns seldom attract audiences to multiplexes anymore, it's a soul-stirring tribute to a forgotten era in film history that deserves high noon recognition even if memories of truly gritty cowboys have faded from good, bad and ugly movies over centuries.
Destin Daniel Cretton's "Shang-Chi and the Legend of the Ten Rings" is an ambitious, empowering and soul-stirring martial arts epic that showcases fast-as-lightning highs comic-book movies achieve when Asian-American celebrities are given opportunities to showcase crazy rich abilities. With Marvel's first Asian-led superhero, Destin Daniel Cretton taekwondos down centuries-old misunderstandings about Asian communities through casting authentic Chinese celebrities that reflect real-world diversity. It's the filmmaker's first attempt to introduce an Asian-American hero into a predominantly white-dominated genre, but he pulls it off seamlessly. Using captivating cinematography, Cretton draws viewers into the journey of a former kung fu prodigy to rediscover his fractured Asian family legacy. Cretton's decision to shoot the movie using slow-motion shots is risky, but it works immensely. Inspired by Ang Lee's "Crouching Tiger, Hidden Dragon", Cretton successfully uses slow-motion action sequences to convey frail family dynamics of dysfunctional Asian-American households. Cretton showcases immense control of production design, action and music, using these elements to create an immersive cinematic experience. Cretton's screenplay is also sensational, and effectively uses flashbacks to build a compassionate portrait of struggles faced by Asian-American immigrants born in dysfunctional families. It's hard to not praise phenomenal cast performances. Simu Liu delivers a breakthrough performance as Shang Chi. With mesmerizing expressions, he conveys angst, frustrations and resentments of an assimilated Asian-American immigrant that yearns to escape his stained Chinese cultural identity. Tony Leung is also terrific in the role of an aging father that yearns to mend broken relationships with his grown-up children. Leung brings sympathy to a tragic villain whose motives are easy to understand. Although "Shang-Chi and the Legend of the Ten Rings" is undeniably unforgettable, ultimately it isn't flawless. At over two hours, it suffers from an extended running time. Moreover, it builds to a formulaic CGI-populated conclusion that lacks satisfying resolution. Nevertheless, fans of the comic-book genre will definitely enjoy "Shang-Chi and the Legend of the Ten Rings" and so will movie-goers seeking exhilarating entertainment. If departed African-American celebrities can achieve Wakanda-ful legacies in white-dominated comic-book history, Asian-American communities deserve opportunities to take pride in their crazy rich cultural identities even if they're all but eager to bid farewell to parasitic destinies over cursed centuries.