All tagged Netflix
I think some important aspects of the film were probably lost on the cutting room floor, and I think if this had been reworked properly it would be that much better of a film. If they had maybe cut out the whole Lucy/Claudia/Vivian friendship triangle it would have glided along better. Ultimately, the side characters, who aren’t disengaged white girls with pretty privilege, are probably the ones who should be telling this story and the ones who are the most interesting.
The largest complaint I have seen about this film is that it includes vital but already understood basic information about the world as it exists. I have to heartily disagree. For every millennial who has been dutifully educating themselves on the internet since the Myspace age, there is a tech unsavvy adult who doesn’t know the difference between HDMI and VPN.
Female friendship is a hard concept to quantify in any passable script. Too many films of the late nineties and early aughts focused on a message of watered down white feminism and gurl power euphemisms instead of creating fleshed out characters.
Before I get into my criticism I would like to highlight the fact that this film was written and directed by a woman. The director in question is Lauren Miller Rogen, and don’t be fooled by that last name, this woman has earned her way through Hollywood all on her own.
I’m not going to mince words on this one: this was a grueling film watching experience and it has left me dazed. How, in this day and age, are we still allowing such obviously bad and irrelevant films to be made?
James C. Strouse is swiftly becoming one of my favorite indie directors and writers with the inclusion of this Jessica Williams star vehicle. She previously starred in his 2015 film People, Places, Things where she played a talented student in a graphic writing class. In this film she is the principle character, and my goodness, does she shine through in all her exquisiteness.
Is there a way to explain, or even review Lady Dynamite, a show that bends the definition of comedy itself? Maria Bamford is a well-known alternative comic, voice actress, former commercial spokesperson, and mental illness activist who just released the second season of this, her semi-autobiographical show.
Joan Didion’s legendary writings have been chic for forty years, and not only did she capture the counterculture and the rock n’ roll lifestyle of the sixties, but she saw its end with the Manson murders.
Horror and comedy are intertwined, based on the fact that both deal in incongruous elements, a fact that Craig relies on heavily in order to explain this ridiculous plot.
Perkins, whose father was the late Anthony Perkins, creates an ambitious narrative that takes its time revealing the intricacies of the afterlife with care and patience, a virtue you will need if you want to finish this film.
The character of Sam was well played in the film by Tessa Thompson but Logan Browning was born to play this role. Not only is Sam a smart, passionate leader and activist, but she also has her own fears and doubts about the state of her relationships.
Though the show is still eccentric and funny in the best of ways, its seasonal arc completely falls apart by episode two and never picks up again.
This man is named Roger Stone, and he is the subject of this documentary. He is a man who does not apologize, nor cares about anything but his own infamy and political clout, a dangerous combination.
This was during the fifties, a time when women weren’t valued for their opinions. Add to that fact that she was crusading to end prayer in school, a highly contentious and inflammatory stance in fifties America, and you have to admit the woman possessed grit.
If you’re not already impressed by this show’s humor, masterful production, and fluid episodic structure, here’s a crazy fact: Aziz Ansari really did move to Italy and learned how to make pasta for a year. I mean, for realsies you guys.
Much like Saulnier, Blair seems to have found his voice among the derelict and poverty stricken blue collar element of the criminals in our very own backyards.
Though there are a couple of chuckles to be had at the witty banter, there's nothing truly incisive about the commentary of this film. The world of mascoting might be small, like the dog show circuit, but it's not one that truly lends to a lot of social discourse, or any true characterizations of small town America, which is Guest's bread and butter.
Amanda Knox comes off as a very likable and intelligent person. Many of the interviews she gives to the filmmakers show a likable, if eccentric, young woman who didn't know how to act when she came home to find her roommate, Meredith Kercher, viciously murdered.
Though their stories are often compelling and heartbreaking, the film works best when it looks at the overall issues of reporting and the way boys are let off the hook. The last interview with the Sherriff in Daisy's community had me actively yelling at my television screen. His idea of justice is to let the boys move on with their lives, like their offense is one that can be rectified and forgotten as a bit of juvenile fun.
