Frank Borzage’s hybrid of genres has apparently been a film that has been neglected for a long time and not given a proper restoration. With Criterion they ensure a long lasting release of what is a pretty engaging mix of drama, comedy, romance, and yes, a disaster film. I’m not sure if I was as wild about “History is Made at Night” as most movie buffs seem to be, but Frank Borzage’s film is a success at being entertaining and engaging. Borzage is able to bounce between themes rather well, balancing out dread and whimsical romance well.
Tag Archives: Drama
Pearl (2022)
I admit I was very skeptical about “Pearl.” I loved “X” but I didn’t think Ti West could do much with the film’s villain and the back story he intended. “Pearl” is a shocking horror film, one that takes a seemingly one dimensional tragic horror villain and put the spotlight on their story which ends up being quite emotional. Big credit goes to Mia Goth and Ti West, both of whom deliver on a disturbing and twisted horror drama that focuses on a young girl who explodes in a powder keg of body parts and corpses.
A Man Called Otto (2023)
It seems like these days actors nearing their seventies have to make a drama comedy about nearing the end of their lives. Hell, Jack Nicholson gave us “About Schmidt” and “The Bucket List,” and Robert DeNiro had “The Intern.” With Tom Hanks we have “A Man Call Otto” which is basically his “About Schmidt.” He lends his talents to a sad tale of a widow trying to find a way to move on from the love of his life. It’s shockingly a pet project for the Hanks fam that is just fine when all is said and done. It’s not Tom Hanks’ masterpiece, but just a fine outing for the man who can do roles like this in his sleep.
Black Panther: Wakanda Forever (2022)
Ryan Coogler’s “Wakanda Forever” is not the sequel we expected, it’s not the sequel anyone expected, especially with the untimely death of Chadwick Boseman. His loss left a gaping hole in film, and left sadly a budding franchise without its lead. “Wakanda Forever” takes the chance to not only act as a sequel to “Black Panther” but also act as a meditation on the ideas of grief, mourning, and the cost of losing those that we dearly loved in our lives who were important to many.
M3GAN (2023)
Everyone and their mother knows “M3GAN” by now. Its trailer was the viral sensation of 2022, a movie that built anticipation less on press and more on the clout the clips built on formats like Tik Tok. Thankfully director Gerard Johnstone’s horror scifi amalgam lives up to its hype. It’s a breezy ninety minute horror flick about technology run amok, and three female personas battling for domination. And it might be my favorite genre flick of the year, yet.
The House (2022)
“The House” is one of the most unnerving and abstract anthologies ever made. Despite its stop motion format, and meticulous attention to detail, “The House” introduces a trio of short films that border on horror but explore more interesting themes. The directors choose to change animation forms through the trio of shorts, and they’re all interconnected with a house that’s basically a menacing character all on its own.
Babylon (2022)
Damien Chazelle’s latest is one of the most controversial movies of the year, if only because it’s sparked a huge conversation about movies. It’s funny that a movie about the changing canvas of filmmaking sparked a very heated discourse about the changing canvas movies and bringing in audiences. The financial bomb feels a lot like Damien Chazelle correcting course for the sake of Oscar glory. Where as “La La Land” was a simple movie with aspirations to pay tribute to Hollywood, “Babylon” is a large, overlong, sweeping epic that aspires to pay tribute to Hollywood.
It doesn’t just pay tribute to Hollywood, though, it bends over to kiss its own ass every chance it gets.