Showing posts with label Sterling K. Brown. Show all posts
Showing posts with label Sterling K. Brown. Show all posts

Saturday, December 14, 2019

Waves Is A Frequently Successful Ambitious Directorial Effort From Trey Edward Shults

Writer/director Trey Edward Shults has previously been responsible for two movies, Krisha and It Comes At Night, that generated much of their tension from restricting their stories about families going through turmoil primarily to singular locations. Through this restrained method, Shults has created some memorable pieces of intense cinema, but for his newest movie, Waves, Shults is looking to expand his creative canvas. Waves is a project that doesn't just span numerous locations, it also takes place over an expansive amount of time (a sharp contrast to the likes of Kirsha that took place over a holiday dinner) and utilizes a number of bold visual techniques such as shifting aspect ratios. Oh, and Shults is also going to comment on a number of real-world social issues.


Saturday, September 15, 2018

The Predator Is A Staggeringly And Tragically Inept Feature

The Predator is a movie that feels like it's been put through a meat grinder and then put through numerous cycles in a blender. Good luck keeping track of where characters are or why crucial plot points are even happening amidst the ramshackle editing that renders the whole movie choppy & frequently incoherent. The disastrous editing isn't all that goes wrong here though in this motion picture whose extremely low level of quality is tragic to see. You'd think pairing up Shane Black, the mind behind Iron Man 3 and The Nice Guys, with a new Predator movie (Black had previously appeared in the first Predator film in a support role) would be the easiest recipe ever for surefire entertainment, but The Predator is instead a total waste of potential that rarely feels like a Shane Black movie, and I'm not just saying that because it doesn't take place at Christmastime!


Wednesday, June 27, 2018

Hotel Artemis Is An Unusual But Delightful Getaway Spot

I've stayed in a number of oddball hotels in my life, including one located somewhere in Texas that totally felt like the sort of location that characters go to get either arrested, shot or both in a Coen Brothers movie, but I've never stayed at a hotel like the Hotel Artemis, a hospital/hotel exclusively for criminals located in Los Angeles in the near future. It's a place run by The Nurse (Jodie Foster) and her dutiful assistant Everest (Dave Bautista), who take care of any criminals who need some under-the-radar fixing up so long as said criminals have an official membership. The newest people to check into this hotel are bank robbers Sherman (Sterling K. Brown) and his intensely damaged brother Honolulu (Brian Tyree Henry).


Wednesday, February 14, 2018

Good Actors Try To Work With An Uneven Script In The Biopic Drama Marshall

Thurgood Marshall, the first African-American Supreme Court Justice, finally got a biopic movie to headline. Instead of chronicling him being chosen for the Supreme Court, the movie Marshall concentrates on a 1940 court case that Thurgood Marshall (played by Chadwick Boseman here) served as a lawyer in. This court case involved Joseph Spell (Sterling K. Brown) being accused of raping a wealthy socialite, Elanor Strubing (Kate Hudson), a court case that seems to have the odds stacked against it, especially when Marshall, being an out of state lawyer dispatched by the NAACP, is forbidden from speaking during the trial, leaving all the in-court defense to Sam Friedman (Josh Gad).


Friday, April 8, 2016

"You Couldn't Get Away With This Plot Twist In An Airplane Paperback": A Look At The People v. O.J. Simpson: American Crime Story

By now, the level of hyperbolic praise slathered onto The People v. O.J. Simpson: American Crime Story from both critics and audiences has reached the level of inescapable. Allow me to toss in my voice to such a chorus of rapturous commentary, because good Lord was this some excellently crafted television. Ten straight episodes that managed to be a riveting crime thriller in their own context and a fascinating rumination on race and gender related hardships. Sure, we all knew when we first strapped in for the first episode of this show exactly how it would end, but did any of us know The People v. O.J. Simpson was going to be this exemplary in every sense of the word?