2018’s “Aquaman” was such a fun, and out of left gate adaptation of an often lampooned character. It was fun but also took the material seriously. With “The Lost Kingdom,” opts for a just fine follow up that had all the seeds of an epic book end to the DCEU. Along with being a complete tonal mess from head to toe, “The Lost Kingdom” is a poorly conceived follow up that continues the tradition of DCEU heroes that do nothing but bellyache about being super powered Gods that can actually help people.
Category Archives: Movie Reviews
Monica (2023)
Andrea Pallaoro’s “Monica” is a beautiful film. It’s a film filled with nuance and subtlety and takes the classic tale of someone returning to their old home and gives is a contemporary all too relevant twist. Trace Lysette is excellent as the titular Monica, a woman who is spending her every waking moment trying to survive and reach some sort of human connection that she craves. This stems from her past with her family, including her mother who disowned her at a young age prompting her to run away from home. For a movie so centered on what is a very important, and common obstacle for people of the LGBTQ community.
The Ghost Station (2022)
A young journalist stumbles upon a story that blows up as she starts publishing it. Soon, she finds herself entangled in a story of ghosts, untimely deaths, and grudges.
The Boys in the Boat (2023)
There’s a moment before the big race in the finale of “The Boys in the Boat” where the American team are waiting to enter and they come across Jessie Owens. Owens, being the only black character who appears a total of twenty seconds, confirms that he hopes he is “the fastest man alive” when they ask him. “You gonna race for Germany and give Hitler what for?” they ask salivating, “No, I’m gonna do it for America.” They all give each other bewildered looks (Him America not like Our America? Nuh uh!) pretty much perpetuating the sheer tone deafness of George Clooney’s latest film.
His movie almost always finds an interesting angle and point to go in and then veers off the track colliding in to sheer nothingness.
Finestkind (2023)
Director Brian Helgeland’s “Finestkind” would be a great movie if he and the screenwriter ever decided what kind of movie they’re actually intending to make. “Finestkind” has a lot going for it, but it’s hobbled by its terrible tonal shifts. It’s about four movies anxious to burst out and rise to the surface. For a whole hour it’s a drama about the beauty of sailing, then it’s a crime thriller, then it’s a neo-noir about a botched drug bust, then it becomes a tragic familial drama. It never focuses on one theme, thus it comes off feeling so confused and disorienting.
Elemental (2023)
People gave “Wish” a lot of guff for feeling like an AI generated movie, but I think when it comes down to it, “Elemental” is so much more guilty of this claim. “Elemental” is one of the laziest and more lethargic Disney films ever produced from Pixar and Disney. It’s such a dull concept that’s overcome by social commentary that literally clubs us over the head every chance it gets. “Elemental” is about immigration and the immigrant experience. Element city is America, or The Land of opportunity. We’re told that a least thirty times over the span of ninety minutes.
Ruthless (2023)
Following the murder of his daughter, a high school coach takes it upon himself to protect a student who is abused at home. Soon, things turn violent, and he needs to do much more than talk to her stepfather to save her.