CTV movie reviewer Richard Crouse shares his take on the naughty and nice films of 2019.
This image released by Sony Pictures shows, Saoirse Ronan and Timothée Chalamet in a scene from"Little Women." “1917” is a simple story of duty wrapped up in a high gloss technological package that delivers a vividly immersive look at life during wartime. The horrors of war are duly represented—there’s barbed-wire, dead, rotting bodies litter the landscape and a bombed-out town is nothing more than the skeletons of buildings—but “1917” doesn’t focus on that.
“Apollo 11” ignores the Cold War politics of beating the Russians to the moon. Instead it celebrates the achievement, leaving the viewer with a sense of awe at the precise work that created one of the most dramatic events in world history.Rudy Ray Moore may be the most influential entertainer who is not exactly a household name.
“The Irishman” is an event, a movie that feels like the obvious conclusion to the gangster stories the director and cast have been telling for decades.captivating new drama starring Jimmie Fails and Jonathan Majors Gerwig has fiddled with the story’s collision of feminism, romance and family dynamics just enough to amplify its resonance for a modern audience. Playing around with a well loved and well-worn classic is risky, but Gerwig pulls it off with panache, aided by an extraordinary cast who bring the material to vivid life.. It is a three hankie, emotionally fraught movie about appealing but damaged people whose divorce is filled with a sense of loss and a growing shroud of incivility.
Watching “Uncut Gems” is an exhausting experience. Howard’s jittery personality is brought to vibrant life by Sandler. For two hours he’s like a NYC traffic jam come to life, complete with the shouting and jostling. He’s the architect of his own misfortune, constantly in motion, bringing chaos to all situations. With handheld cameras the Safdies capture Howard’s gloriously scuzzy behavior, luxuriating in the character’s foibles.
The beauty of writer-director Trey Edward Shults’s film is the discovery of it, being drawn into the story and the characters. Shults doles out emotional moment after emotional moment and yet there isn’t a melodramatic second to be seen. That’s partially due to the uniformly wonderful, naturalistic performances but also from a story that feels grounded in real life.
The story centers around six good-looking people trapped in a series of immersive escape rooms. The twist? Whoever leaves last is necessarily the winner. “Escape Room” won’t exactly make you want to escape the theatre but it doesn’t really give you a great reason to be there in the first place.. Mix and match “Looper” and “Replicant” with a dash of “Deadpool” and “Unforgiven” and you have a film with that feels like a mild case of déjà vu.
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