Mickey Rooney’s notorious turn as Yunioshi is just the tip of the iceberg in a movie that builds to the unsubtle inference that women are like stray cats whose liberation makes them a danger to themselves (Paul Varjak barking “I love you, you belong to me!” is a real howler in this day and age, even if his heart is in the right place). “Breakfast at Tiffany’s” (1961)Īudrey Hepburn is a timeless icon, but “Breakfast at Tiffany’s” - her most iconic role, if hardly her best performance - has most definitely aged, and not very well. Despite how it first seems, ‘The Force’ paints a far more complicated and troubled picture of enforcement and accountability, which is sure to only become more distressing in the years to come.” 4. That ‘The Force’ suggests-at first, at least-that we should sympathize with the police during Trumpian times may be a tough pill for some viewers to swallow, but what makes the movie such a riveting and resonant story is the unexpected places it goes. Here’s Anthony Kaufman, eloquently speaking to one of 2017’s most vital documentaries: “Peter Nicks’s outstanding direct-cinema portrait of the troubled Oakland Police ‘The Force’ is another urgent chronicle that captures the deep ruptures in our communities: On one side, the much-maligned police of the California city on the other, the community who feels trampled over by the authorities. Mix in a Bill Clinton subplot, a genuine measure of suspense, and a pinch of fatalistic anxiety and you’ve got yourself a delightful bit of escapism. But the film’s meandering flashback structure allows it to squeeze in three rom-coms for the price of one, and Ryan Reynolds has some pretty electric chemistry with all three of his exquisitely cast love interests (Rachel Weisz, Isla Fisher, and Elizabeth Banks). The semi-demented saga of a divorced father who recasts his sex life as a bedtime story for his 10-year-old daughter, the movie hinges on a convoluted premise that requires you to turn off your brain and let the cuteness work its magic. “Definitely, Maybe” is one of the genre’s better examples, and also one of its last (at least of the glossy major studio variety). Sure, many of them were patently insane, and almost all of them reinforced some pernicious gender norms, but they could also be sweet and sincere reminders that we’re all just out there looking for love. One thing is for sure: It’s a flick you don’t want to miss.Remember romantic comedies? They were nice. The Platform is a satirical production that grapples with Darwinism in some bizarre and all-consuming ways. Inevitably, this leads to an uprising of horrific proportions. In order of randomized hierarchy, those at the top get the most food, while those at the bottom get the scraps. The story follows the imprisoned residents of a Vertical Self-Management Center, a dystopian vessel that delivers food to its captives by way of an elevator system. Have you ever seen or heard of famed French-Canadian Denis Villeneuve’s short film Next Floor? If not, here’s a quick summary: A baroquely-costumed set of aristocrats gorge on a handsome feast, with their increasingly accrued weight plummeting them (and their table, chairs, and food) through the floor, where they resume said gorging. Galder Gaztelu-Urrutia’s The Platform plays with some of the same narrative bits, albeit in the form of a more realized social commentary.
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