As I get older, my love for The Last Unicorn only seems to grow.
Thank Your Lucky Stars might not be a great musical, but that doesn’t make it any less wonderful, and as an old Hollywood artifact of a bygone era of big screen entertainment that’s disappeared forever it’s a fantastically fun smorgasbord of silliness worthy of celebration.
Far more cerebral than you initially expect it to be, this intimate, claustrophobic thriller takes its time to explode into the expected violence and mayhem involving the titular creatures, and as such becomes far more meaningful, and memorable, than it otherwise would have been had the filmmaker chosen a different path.
Jupiter Ascending is still a mess, and I can’t say I was as enthralled watching it at home as I was sitting inside the movie theater back in February. Same time, the film’s strengths in my opinion do outweigh the weaknesses, and I’m very curious what I’ll think of it when I revisit it again sometime in the next few years.
McFarland, USA is still one of the better films I’ve seen in all of 2015. Disney’s Blu-ray release is a strong one, lack of extensive extras notwithstanding, and family audiences wondering if they should add this to their respective libraries should do so as quickly as they can.
I gave Focus a second chance mainly on the strength of the first half and because the two leads have such sensational chemistry. Sad to say, I was just as disappointed this time as I was when I originally watched it in the theater. The second half just isn’t very good, building to an unbelievable and unappealing climax that wastes the talents of all involved. Pity.
Monsters: Dark Continent isn’t going to be what most expect (or probably want) it to be, but for my part I’m fine with the down-and-dirty thriller director Tom Green has thrown together. The sequel’s Blu-ray presentation is excellent (lack of special features notwithstanding), and I doubt fans will be disappointed.
Magician: The Astonishing Life and Work of Orson Welles is an engrossing, if still only surface level, examination of one of the 20th century’s most towering cinematic figures. While never digging as deep as I would have liked, the film’s nonetheless a wonderfully entertaining documentary filled with numerous delights both for diehard cineastes and the modestly curious alike.
My chief suggestion here is to experience both That Man from Rio and Up to His Ears blind, with little to no information about either before doing so as the only thing a person truly needs is knowledge that these two Philippe de Broca directed stunners – both featuring a charismatically sexy Belmondo – are fairly close to perfect pieces of escapist entertainment.