Helen Reddy is no longer a household name for the current generation, but for baby boomers in the 1970s she was a feminist icon after her hit single “I Am Woman” was co-opted by the […]
Tag: Musical
The Lion King (Favreau, 2019)
I have criticized Disney remakes in the past for their pointlessness; I have also given some a pass for their ability to entertain. The Lion King is not only a black hole of entertainment, it even goes […]
Yesterday (Boyle, 2019)
The premise of Yesterday works in some respects. Imagining a world without a particular cultural commodity, with all its associated prestige and iconography, can yield intriguing implications—especially if a few select people still know such a commodity […]
Weekly Spotlight #12: Hellzapoppin’ (Potter, 1941)
In this weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week, it’s back to the 1940s with our zaniest selection yet: a vaudeville revue that takes audience participation to a whole new level.
Rocketman (Fletcher, 2019)
I’ll give Rocketman this much: it is a more credible endeavour than its closest antecedent, Bohemian Rhapsody. On the aesthetic front, Rocketman is not as visually shoddy or bogged down by competing artistic visions. Dexter Fletcher had a clear concept […]
Weekly Spotlight #2: Moses and Aaron (Straub & Huillet, 1975)
In this new weekly series, The Lonely Film Critic highlights an older release of interest, whether it be an oft-overlooked gem or a classic worth revisiting. This week, to commemorate the Easter-Passover holiday, we check out the lesser-known Biblical adaptation Moses and Aaron from French directing duo Straub-Huillet.
Guava Island (Murai, 2019)
Last year Janelle Monáe released a conceptual “emotion picture” to act as a thematic and visual supplement to her third studio album Dirty Computer. Now Donald Glover (aka Childish Gambino) is taking a similar approach with Guava […]
Mary Poppins Returns (Marshall, 2018)
Mary Poppins Returns begins with a very traditional opening number, before revealing very traditional opening credits with an overture in the vein of the original. It is a clear jump into the past, and an age […]
Hearts Beat Loud (Haley, 2018)
Like a knitted sweater, Hearts Beat Loud is a cozy and warm pleasure. Very low-stakes, unencumbered by twisty plotting, and breezily musical at heart. It’s very hard not to fall for its charms, although I can also […]
Bohemian Rhapsody (Singer, 2018)
Is this the real life, or is it just fantasy? Well, folks, I’m sorry to burst your bubbles, but it’s more the latter than the former. Taking a little dramatic license with the truth to […]
Song to Song (Malick, 2017)
Who knows if Terrence Malick will ever reach his early career heights again. The Tree of Life might be his final “great” work, though his recent efforts may be re-evaluated down the line. Song to Song, like its […]
The Greatest Showman (Gracey, 2017)
I might have enjoyed a different version of The Greatest Showman. One where the filmmaking was more adept, the songs more substantial, and the characters given the complexity they deserve. This? This is pap. Well-intentioned pap, […]
Pitch Perfect 3 (Sie, 2017)
Due to a timing mix-up, I saw Pitch Perfect 3 in a very last-minute call. It was only until I was seated that I remembered I hadn’t seen the second installment! Most mercifully, the story is more […]
Mamma Mia! Here We Go Again (Parker, 2018)
The first Mamma Mia! is a jukebox musical in which the plot was clearly written around the songs. ABBA’s songs of infidelity, flirtatious discovery, and radiant living are perfect for a tale of a woman with three […]
Moana (Clements & Musker, 2016)
I think 2016 was a good year for animated films, but if I had to pick just one to take with me to a desert island (sorry for the cliché), then I think Moana would be my choice.
The Lonely Film Critic 