So… I’m in that group that went into this movie not expecting to like it much, but ended up really liking it/borderline loving it. This is a testament to Linklater’s gifts.
Tag: Comedy
Brigsby Bear (McCary, 2017)
For anyone who feels alone in this world, or who thinks their creative genius is being misplaced, Brigsby Bear is going to be the balsam you need to get through your worst days.
Girls Trip (Lee, 2017)
All hail Tiffany Haddish. Her NYFCC win was the sole reason I decided to watch Girls Trip sooner rather than later, and, well, the proof is in the pudding.
The Trip to Spain (Winterbottom, 2017)
When you need something light and guaranteed to make you smile, while also hugging you with its familiarity, The Trip films do the trick nicely. You put one on, and instantly you know what to expect.
I Don’t Feel at Home in This World Anymore (Blair, 2017)
I Don’t Feel at Home in This World Anymore is as scrappy as they come, colouring within the lines of the comic thriller, while also gunning for something more intellectually engaging.
The Other Side of Hope (Kaurismäki, 2017)
Aki Kaurismäki has done it again, folks. Back after a six year hiatus, his latest feature possesses all his trademarks: the slightly faded aesthetic; the po-faced performances; the scalding Finnish wit hibernating in drab décor and reams of cigarette smoke.
The Big Sick (Showalter, 2017)
The Big Sick will not win any awards for its direction or style. And I’ll admit that that bothered me for the first half hour or so. It’s not an interesting film to look at, and Michael Showalter doesn’t seem to try giving it a boost in that area.
Hidden Figures (Melfi, 2016)
It painstakingly fenceposts its plot developments to an almost embarrassingly obvious degree, it wants your heart to swell as the protagonists overcome their adversities (and adversaries) and get where they want to be, and it doesn’t scream highbrow cinema at all—and is almost proud not to.
The Little Hours (Baena, 2017)
The Little Hours is one of those films that can be enjoyed in the moment, but afterwards leaves you wondering why it exists.
A Man Called Ove (Holm, 2015)
A Man Called Ove is exactly as advertised: a funny, feel-good piece that is safe and agreeable (and nothing more).
Their Finest (Scherfig, 2016)
Another film about the process of filmmaking, Their Finest takes us to bomb-riddled London in 1940, where a young secretary is hired by the government to help script morale-boosting propaganda films.
Prevenge (Lowe, 2016)
Prevenge isn’t very original if we’re being honest here, nor does it reach levels of sheer insanity and bloodcurdling horror.
In the Loop (Iannucci, 2009)
If you’re not here for Capaldi, then there’s still a ton to like about In the Loop Fans of Veep will especially adore seeing Armando Iannucci in his element (the first season of Veep aired three years after this film), while those who admire political satires in general will greedily eat up what this one has to serve.
My Winnipeg (Maddin, 2007)
Guy Maddin is a singular filmmaker, whose vision is his and his only. You can’t say that about many filmmakers, but it applies unconditionally to Maddin.
In Bruges (McDonagh, 2008)
Welcome to Bruges, where the architecture is pretty, the beer is good, and the hitmen are… philosophical?! Then again, they’re played by Colin Farrell and Brendan Gleeson, so a level of sophistication is to be expected.
The Lonely Film Critic 