These are Big B’s top ten films of 2017.
10) I Am Evidence – directed by Geeta Gandbhir and Trish Adlesic
I Am Evidence is a clear, poignant exploration of an issue that needs more attention: the epidemic of untested rape kits in American cities. Most importantly, I Am Evidence focuses on specific steps that cities can take to resolve this problem. This documentary tries hard to make itself unnecessary by aggressively targeting sensible solutions to the problems highlighted during the documentary’s opening moments. I Am Evidence is concerned with progress, not proceeds—but I hope it gets both.
Writer Manohla Dargis is a skilled film critic. Most of her reviews are filled with astute observations and nuanced recommendations.
Her recent review of Justice League, however, is wrong.
Here’s why. Continue reading
This article contains spoilers.
We are defeated. On a good day, we can ignore that fact. But it is still true. The good team lost.
That is the spirit of Justice League‘s opening scenes. Norwegian singer and songwriter Sigrid sings a more earnest, mournful version of Leonard Cohen’s “Everybody Knows” as audiences view a melancholic montage of troublesome images, beginning with Superman’s funeral and progressing through scenes of realistic social injustice. A white man harasses Muslim shopkeepers, and a homeless man sits quietly behind a small sign that reads “I tried.” Sigrid’s smooth voice bellows over haunting, repetitive piano riffs: “Everybody knows the fight was fixed / The poor stay poor, the rich get rich / That’s how it goes / Everybody knows.” This glossy, semi-grayscale, post-Superman world is bitter and scared. As a reporter notes, “The world remains in mourning . . .” Continue reading
Hello and welcome to Jeremiah Trotter’s top 10 movies of 2016. Now, let’s be clear: these are the top 10 movies that I enjoyed the most from 2016… that I saw. So, of course you will have different opinions and different ideas of what is “the best” of 2016, but maybe you discover something on this list that you’d like to check out. And I’m definitely not opposed to debating the merits of individual films. Anyway, let me know how you feel in the comments if you get the urge. Continue reading
Below is your guide to the science fiction, fantasy, and superhero films of 2017—complete with trailers, release dates, pros and cons, and an Excitement Rating that quantifies Big B’s interest in each film.
The Lego Batman Movie – February 10th – Warner Animation Group & DC Entertainment
Pro: the possibility that Will Arnett will be the best Batman yet; the realization that this movie is essentially an animated amalgam of all the Batman memes that exist on the Internet Continue reading
Below are Mo Money’s top films of 2016 excluding movies that originally premiered in 2015 outside of the United States.
1.) The Love Witch
This isn’t camp or kitsch; this is a feminist thesis in the guise of a murderous witch film. Anna Biller took years writing this film after Viva, and the end result was worth the wait. If you don’t know her work, fix it! Continue reading
Below are Big B’s top films of 2016.
1) Hunt for the Wilderpeople
It’s a heartwarming adventure-comedy about two outcasts from different worlds, and I love it. Clever, concise, and nuanced. Watch this movie. Continue reading
I’m a huge super-hero fan and one of my first introductions into actually reading comics was the Civil War event. The political stand-off and the idea that heroes could disagree and fight against each other in such a grand way, disagreeing over basic beliefs, was enticing to me. So, of course, I’m excited to see them try something similar in the MCU. Though, there is no way they can replicate the true scale of the crossover; I think that Captain America: Civil War has touched on something remarkable in the interaction of its heroes that makes this movie shine, even if the source material’s depth was hard to live up to.
The action in this movie was visceral and intense. The film allowed the heroes to use their powers and abilities to the fullest. Even from the start, we saw some awesome combo attacks and a wide range of new abilities and intense action scenes that are absolutely the best in the genre so far, and as the film progressed it only got better. In terms of action, if you were upset by the slow pace and low choreography of some other superhero films, this is definitely not an area where Civil War will disappoint. Continue reading
THIS ARTICLE CONTAINS SPOILERS.
Many reviews of Batman v Superman: Dawn of Justice seem to forget one fact: Zack Snyder has a distinct directorial style. As I’ve noted before, anyone who buys a ticket for any film by the director of 300 and Sucker Punch—which includes Batman v Superman—and is offended by the lack of subtlety and Loki-style humor has not considered Snyder’s reputation as a director.
A director’s signature style matters. I would not see a Tarantino movie if I wanted a kid-friendly romantic comedy; I would not expect a film by Sam Mendes to highlight the positive qualities of suburbia; and I would not look for Spaceballs-style comedy in an Iñárritu film. Zack Snyder was never going to allow Batman v Superman to look or feel like Joss Whedon’s lighthearted and arguably formulaic Avengers films.
Below are ten reasons why Batman v Superman: Dawn of Justice is an entertaining and impressive movie.
1. The Opening Scenes
Critics enjoy mocking the excessiveness of Superman’s Metropolis-based battle against Zod in Man of Steel. Shortly after the movie premiered, the hazard-assessment team at Watson Technical Consulting quantified the damage. According to the team, “in terms of the strictly physical damage done to the city, the initial estimate is $700 billion.” And the death count is equally striking: “129,000 known killed, over 250,000 missing (most of whom would have also died), and nearly a million injured.” Many moviegoers look at these numbers with disgust.
So does Batman. Continue reading
Victoria opens with strobe lights, club music, and bathroom graffiti. The first few minutes of the film feel like a particularly intoxicating blend of A Night at the Roxbury and Gaspar Noé’s Enter the Void. Victoria, a young Spanish girl played by Laia Costa, dances her way through a crowd and is quickly harassed by several “real Berlin” guys. This is when the film becomes frustrating to watch.
Despite their reprehensible, arguably predatory moments early in the film, the “real Berlin” guys—primarily Sonne, Boxer, and Blinker—induct Victoria into their close-knit, Trainspotting-style group. Sonne and Victoria begin to develop a relationship, and all seems well in this hazy late-night version of Berlin—until Boxer needs a favor. Then this one-shot film becomes a blur of guns, lights, and muffled dialogue.
Like a dark, more visceral version of Whit Stillman’s The Last Days of Disco, Victoria’s story questions the necessity of maturity. Though, as a character, Victoria has strength and courage, she possesses a sort of self-aware naïveté, a seemingly conscious willingness to allow the forces around her to guide her actions. The fact that this film is a single continuous take enhances the idea that Victoria’s life is one steady stream of pressures and obligations—she never has a moment to reflect. In this way, Victoria is more relatable than many films: there are no cuts, no blackouts, no second attempts. The audience can analyze how the ugly minutiae of every moment impacts Victoria’s spirit. Continue reading