Gurinder Chadha is a very unique voice in the film world who always manages to lend a much needed voice to cultures we don’t usually see too much of in mainstream film. “Bend it Like Beckham” was a crowd pleasing comedy drama about cultural conformity and societal pressures, and “Blinded By the Light” follows the same basic platform. I wouldn’t call it a masterpiece, but at the end of Chadha’s comedy drama musical, I found it to be a pleasant diversion with one hell of a great soundtrack. I admit while the film didn’t stick with me, I spent the rest of the night humming Springsteen’s songs in my head.
I’m no misanthrope, but it’s tough to find great new Christmas movies, even though Hollywood does keep trying no matter what. I went in with low expectations with “Let It Snow” but took the chance thanks to the great cast, and I was pleasantly surprised. It’s hard to remember a Christmas movie that feels so down to Earth and unassuming than “Let It Snow.” It has every chance to be so saccharine and cloying, but it instead insists on a very sweet and engaging tone with some genuinely engaging characters.
Taika Waititi has always been a filmmaker that’s managed to challenge conventions and deliver tales that are always completely out of the ordinary. With “Jojo Rabbit,” it’s another in a long line of tales about the male ego and the weird world that they belong to. In Waititi’s case, it’s the briefly controversial “Jojo Rabbit,” a movie that received a lot of buzz for its depiction of Adolf Hitler. Once you got down to the meat and potatoes of the narrative though, you learn that it’s the destruction of Hitler and how he’s so uncomplicated that he’s reduced to an imaginary friend of a young child.
If I have to pick a favorite aspect of “Over the Garden Wall” is the ambiguity of it all. There’s not a ton of exposition or explanation as to whom or what the characters Greg and Wirt are. We just know that they’re brothers, they have polar opposite personalities, and they’re stuck in a timeless land filled with dangers and mysterious oddities that they can’t possibly fathom. Along the way, Greg and Wirt learn a lot about the idea of grief, and confronting their fears, and learning to appreciate one another as brothers. They also have their own personality quirks that could count as flaws, but only make you love them even more. By the time the series ends, you’ll be glad you met them and realize you know everything that you need to know about them. I encourage you to fall in love with it like I did.
One of the highlights of 2019 has been the rise of lighter zombie films that skirt the whole gloom and doom in favor of something more. Abe Forsythe’s “Little Monsters” is one of the most satisfying zombie movies of the year, and one of the best movies of the year. It’s a movie that offers everything from laugh out loud comedy, creepy zombie carnage, vicious gore and grue, great music, and a very touching story of two adults that find purpose in innocent children that need them to survive an extraordinary situation.
It’s not many directors or studios willing to display what twelve years olds do when adults aren’t looking, and “Good Boys” thankfully doesn’t waste the opportunity. “Good Boys” has every chance to be just a crude one note gag that involves just a bunch of foul mouthed tweens, but “Good Boys” is a fun and very funny peek I to a new generation of young adults, all of whom have different problems than we did, but also surprisingly face the same hurdles including growing up, moving on without our childhood friends, and learning to accept what we are.
Disney remaking their loose adaptations of classic fairy tales and folklore is their newest confusing trend, and as a behemoth of a corporation they’ll keep churning them out. Because they know audiences will go see them. “Aladdin” banks heavily on the nostalgia of the nineties much like previous Disney efforts. And like previous Disney remakes, “Aladdin” is fine. It’s just fine. I’ve yet to see a Disney live action remake that has completely outshone their original effort; compared to “The Lion King,” Guy Ritchie’s remake is mediocre, time filling fodder and that’s about the best compliment I can give it.
Over twenty five years later, “Aladdin” is still one of the best animated films of the Disney golden age of the late eighties and nineties. Whether it’s on the big screen or the small screen, Jon Musker and Ron Clements’ adaptation of the original series of fantasy tales is engaging, and fun, but also excels in its simplicity and accessibility. Aladdin is also one of the most underrated Disney heroes in their staple, it’s a shame he doesn’t get mentioned too often.