The result of Soderbergh’s breadth in perspectives is not enlightening, in fact it’s hardly informative. “Laundromat” becomes lost in its stylistic idiosyncrasies and sprawling storylines to the point of mundanity.
Anish Tamhaney
Daily Arts Writer
Film
First there was Taylor Swift. Then we find out he supports President Trump. Now it’s … Jesus? It’s almost impossible to talk about Kanye West without mentioning the bombastic controversies that surround him. However, West’s new IMAX short film, “Jesus is King,” asks us to try.
Eventually, they’ll have to stop churning out sequels and remakes and finally create something new, something never-before seen.
In 2019, a year when most people try their hardest not to offend, not to make light of racism and cruelty, Taika Waititi’s Hitler comedy “Jojo Rabbit” should not work.
In many ways, “The Lighthouse” is a testament to the foothold that horror has on the film industry in 2019.
We’re all living cable free, right? We’re the digital generation, we cut the cords, we use streaming services and we don’t pay for cable. But would we be better off if we did?
It’s 2019, and “Zombieland: Double Tap” has lost its edge.
Calling attention to these unrecorded numbers and the unwritten stories of ruined lives behind them, then writing one herself, is the chief accomplishments of Lopez’s film.
It’s one of those trademarked Disney movies that you know you’ll enjoy and you know will have a ‘happily ever after,’ but not necessarily worth spending ticket money on.
The two genres in “Jexi” mix like oil and water.