"Brooklyn" will make you cry. It is the kind of movie filled with melancholy that anyone leaving home can fully understand. It is a movie about the passage into full-blown adulthood and the coming to terms with one's identity. There might some disappointments in the film, but they are microscopic compared to the glorious acting and filmmaking on display.
Jared Leto, the latest person tasked with the job for the upcoming "Suicide Squad," is not dispelling this notion. The actor, who is gracing the cover of Empire, in full Joker regalia, spoke to the magazine about the difficult experience it was to embody such a psychopathic villain.
"The Pearl Button" offers the viewer a panoramic view of Chile's violent history at a slow pace that really allows the director to unpack the issue on a metaphysical level. The interviews not only provide context, but also color allowing the viewer to not only understand the world but feel a part of it. At 82 minutes this is a refreshing approach to filmmaking that keeps the viewer entranced and emotionally riveted.
If the opening image of "Beasts of No Nation" is framed as illusion, the final image, which essentially bookends the story with a similar image explored through a more promising element, tells us that there is hope. Or at the very least the film seems to be hoping for some hope.
"Miles Ahead" reaches high with its subject matter and genre subversion. However, the catharsis never comes. The sense that Davis is this revolutionary genius is never truly felt; the audience is constantly reminded of his greatness by other characters onscreen, but the sense of his artistic importance is glimpsed over in a few performances. People that are familiar with the artist will undoubtedly connect with the narrative, but those unfamiliar will come away wondering what the hype was all about.
Watching "Son of Saul" is a grueling experience on many levels. Through the subject matter (the Sonderkommando forced to aid in the extermination of their own people), the style of the film and its painful plot, the film never shies away from aims to portray the holocaust as an act of animalistic brutality and evil. Unlike other films on the subject, there is no hope at the end of the line and any glimmer of it ultimately proves false.
"Steve Jobs" is not your traditional biopic but instead an operatic "backstage" look at the life of man well-known for his work in front of the proscenium. Those looking for "historical accuracy" might as well turn to the languid "cradle to grave" "Jobs" which stars Ashton Kutcher. This film however, in its pace, its inventiveness and dynamism, is far more true to the spirit of one of the most exciting geniuses of our time.
All of the pieces of "Bridge of Spies" amount to a disjointed film that seems rather intent on its message at the cost of palpable suspense or drama. Some might be attracted to the feel-good vibes and optimism of the narrative, yet there is a lot left to desire about Spielberg and company's decision to gloss over the details in the search for explicit ideology.