Tagged Adam Driver

BlacKkKlansman (Lee, 2018)

Spike Lee’s passion is unmistakable. He knows just how to get at the heart of the issues and blaze them to the masses with ferocity, his films acting as missals for his faithful to fight for something better. The tactic isn’t subtle, but sometimes subtlety isn’t the best approach. Ending the film with footage from…

Star Wars: The Force Awakens (Abrams, 2015)

I do think that The Force Awakens leans a little too heavily on the mythos of the first trilogy, almost repackaging the journeyman hero elements of A New Hope and sending it out to us as though it were a shiny new product. Look, it tells us, we’ve got a female heroine sensitive to the Force! We’ve got a likable black…

Star Wars: The Last Jedi (Johnson, 2017)

Big, bold and beautiful. It’s hard to describe Rian Johnson’s achievements here any other way. This is the kind of Star Wars film that lives up to the grandeur of the title: high stakes galore, with whopping intergalactic conflicts, no clean moral divides, and drama within an inch of all lives depicted. It’s a madder, trickier vision…

Logan Lucky (Soderbergh, 2017)

Not having seen Ocean’s Eleven or its sequels, I don’t have much of a basis to make comparisons here. I know this is a heist film and a comedy, and that’s as much as I have to judge.

Silence (Scorsese, 2016)

Trying to explicate all the resonances, nuances, brushstrokes and calibres that make up this staggering (yes, staggering) masterwork would take a long time, and it’s time I, sadly, don’t have.

Paterson (Jarmusch, 2016)

Paterson cycles through a week in the life of its titular protagonist, a bus driver in Paterson, New Jersey (and yes, his real name is actually Paterson) who writes poetry inspired by his fellow-Patersonite idol William Carlos Williams in his spare time.