Tagged Romance

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 once existed. The route Yesterday takes is the easiest: what if one of those people assumed creatorship of the commodity and reaped…

Weekly Spotlight #10: Desert Hearts (Deitch, 1985)

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. In honour of Pride Month, we turn our focus to the recently-restored lesbian romance Desert Hearts from director Donna Deitch.

Aladdin (Ritchie, 2019)

It is quite the relief when a movie that has been beleaguered with terrible promotion turns out to be better than expected. And let me tell you, Guy Ritchie’s Aladdin instilled no confidence before its release date. When Will Smith’s buff and blue Genie was finally unveiled to a flurry of online backlash and mockery, I couldn’t…

Weekly Spotlight #8: Ballad of a Soldier (Chukhray, 1959)

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, we introduce you to the Soviet-era war classic Ballad of a Soldier in remembrance of the 75th anniversary of D-Day.

Booksmart (Wilde, 2019)

Social media has been abuzz with debates about Olivia Wilde’s debut, from its marketing campaign to its struggle to make gains at the box office to questions about its diversity (or lack thereof). I want to review Booksmart on its own terms, so forgive me if what I write doesn’t substantially contribute to the current discourse. I’d…

Border (Abbasi, 2018)

This is quite the mish-mash. A heaping of Scandinavian folklore here, a sprinkle of gritty police procedural there. It ping-pongs between the two genres with intriguing results. Its feet are firmly planted in reality, but the folklore elements give it a sense of atemporality. It seems to exist in one time and in no time,…

Night is Short, Walk on Girl (Masaaki, 2017)

I commend the gutsy animation style on display in Night is Short, Walk on Girl. Expression is maximized from stem to stern, with emotions and physical movements taking on eye-popping (and hilarious) modes. Over-exaggerating affect and spatial boundaries works in this context, because this is a film about those awkward in-between years of adolescence and adulthood—between…

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 past few predecessors, was tepidly received and ignored by most audiences, left to be picked up by its few supporters…

Phantom Thread (Anderson, 2017)

Many things can be said about Paul Thomas Anderson’s ravishing masterpiece Phantom Thread. That it’s a sterling period piece that evokes both the opulence of Ophüls and the twisted sensibility of Hitchcock is a given. That it’s got one of the most sumptuous scores of the decade thanks to Jonny Greenwood is undeniable. That it’s perhaps…

God’s Own Country (Lee, 2017)

A good portion of God’s Own Country rests in silence. Human silence, that is. In the background, the wind rustles and sheep bleat. Two men are forced to tend a Yorkshire farm together. One is the owner’s wayward son (Josh O’Connor), a closeted gay man named Johnny who resents his burdens and tries to unsuccessfully drink them…

Professor Marston and the Wonder Women (Robinson, 2017)

Chances are, four out of five people reading this review will never have heard of this film. “Wait, there’s another movie about Wonder Woman?!” they will exclaim. And to that I say: yes… and no. Technically it is about the superhero’s creator, William Moulton Marston, an ex-psychology professor who decided to test his theories on human behaviour (called…

Book Club (Holderman, 2018)

Geared toward the twilight set, Book Club delivers a fair amount of laughs courtesy of its cast of American treasures. It’s a bit like The Best Exotic Marigold Hotel, in the sense that its concerns are about the love lives of its elderly characters. All the spice comes from these women finding the right man to keep their…

Let the Sunshine In (Denis, 2017)

It’s only words, and words are all I have to take your heart away.—The Bee Gees Claire Denis continues to be nothing less than fascinating with her first film in four years, a far cry from the ultraviolent Bastards. This one is an elliptical study in love and courtship, where words and speech occupy the central role…

Love, Simon (Berlanti, 2018)

Love, Simon reminded me a little of last year’s Wonder, which was (if you remember) about the child with the facial disfigurement. Both are very safe and “clean” uplifters about self-acceptance and tolerance that are fundamentally structured to give you a good cry. Both are based on popular young adult novels. Both are, in my mind, very…

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 suitors who has no idea about which is her daughter’s true father. You can get away with silliness like that…