Category: Drama
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Paul Thomas Anderson: One Film After Another
A journey through one weekend with three Paul Thomas Anderson films.
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The Waste of Talent in Eddington should be avoided
Eddington, directed by Ari Aster and featuring a notable cast, is criticized for its chaotic narrative and underutilization of talent, particularly Joaquin Phoenix and Pedro Pascal. Set in a small New Mexico town during COVID, it fails to effectively convey meaningful stories, resulting in a frustrating cinematic experience overall.
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F1 is eye candy for big people
F1 – 2025 showcases Brad Pitt as Sonny Hayes, a nomadic driver joining a struggling team to reclaim victory. Directed by Joseph Kosinski, the film combines stunning racing visuals with internal team conflicts. While the plot features familiar F1 names and solid character dynamics, it could benefit from tighter pacing.
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Red Rocket – Dreams of a User
As he does in his other films, The Florida Project and Anora, Baker shows an unerring ability. He can grab acting talent from obscurity. Every performance here is award worthy and of bedrock quality. Baker tells the Greek tragedy for the common American lowlife.
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Anora Shows Power as the Cover of Weakness
In “Anora,” directed by Sean Baker, 23-year-old Ani navigates life as a stripper turned girlfriend to a Russian oligarch’s son. The film explores themes of class disparity and personal value through Ani’s experiences, mixing dark humor with poignant moments. Madison’s performance captures the struggles of Generation Z, highlighting the fragility of hope and self-worth.
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Another Look at The Late Show (***1/2)
The Late Show, directed by Robert Benton and released in 1977, features Art Carney and Lily Tomlin in a charming tale of old versus young. Carney’s seasoned investigator, Ira Wells, teams up with the whimsical Margo Spelling, played by Tomlin, to solve a case involving her missing cat, showcasing their contrasting dynamics.
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Oppenheimer (*****) – Everything, even light
So if this is a victory, it is a small one. It’s a ray of hope in the shadow within which the power resides
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Barbie (****1/2) is esoterica
Gerwig and Baumbach walk the line between preaching and expression of genuine feelings.
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Sound of Freedom (****) rings a clarion call
The portrayal that we are granted by Monteverde and his writing partner Barr give those in bondage a light. Let’s hope it’s a light that never goes out.
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Creed III (****) The edge of a dream
How and where this series goes, is hard to tell. This feels like a complete cycle to me. Jordan has earned the right to keep going, as this series and the name Creed is completely his by now.
Ebert Did It Better: Gasbag Reviews 