I liked The Eyes of Tammy Faye, but I loved the dynamic and on-screen chemistry between actors Jessica Chastain and Andrew Garfield. As infamous televangelists Tammy Faye Bakker and Jim Bakker, Chastain and Garfield are excellent and shine through their make-up and prosthetics with believable performances and vibrant personalities. We’re constantly having to remind ourselves that we’re watching a contemporary film; not the 2000-era documentary of the same name that serves as source material.
Though its measured pace and dialogue-heavy approach could turn off audiences seeking a more thrilling cinema experience, the European-produced Adventures of a Mathematician is an engaging and deeply human portrait of a fascinating moment in history.
Not very often do audiences receive a biopic as pointless and embarrassing as Creation Stories. Then again, the filmmaker could still benefit from a turkey like this. If they believe their biopic holds valuable nostalgia or fan service, ham-fisted qualities can be forgiven by movie goers, allowing the movie to even win Oscars. It worked for Bohemian Rhapsody.
Stardust has a really good idea for a movie: the rise of an insecure musician who strives for fame but, at the same time, is scared of how his lack of identity will ruin him. If the movie was about an ambiguous celebrity, director Gabriel Range (Death of a President) could’ve had a lot of room to explore the anxieties of fame. Unfortunately, he’s desperate to crowbar these dilemmas into an unqualified and unauthorized biopic…
Tesla, written and directed by Michael Almereyda (Hamlet , Majorie Prime), explores the famous Serbian inventor with an ostensible inventiveness in both narrative and form. While the experimentation is welcome and even appropriate, its application is uneven and questionable, and leads to an uncertain overall thesis.
By: Jolie Featherstone Unjoo Moon’s I Am Woman is a loving biopic of Helen Reddy, the artist who created the iconic song ‘I Am Woman’, the anthem of the women’s movement in the 1970s.
Intended as a sequel, of sorts, to Braveheart, Robert the Bruce sees Angus MacFadyen (Braveheart, Alive) reprise his role as the titular Scottish king. Unfortunately, this is one of those movies with all the right ingredients – but no spark.
It was both surprising and unsurprising to find out director François Girard was attached to The Song of Names. By going into the movie blind, so much of Girard’s film reminded me of the Oscar winning drama The Red Violin. This discovery that both films were directed by the same person made sense, but I didn’t expect The Song of Names to pale so much in comparison.
Biopics don’t get more standard than Seberg. The film is watchable and efficient to an extent, but it also feels manufactured by a faulty machine.
Céline Sciamma’s highly acclaimed drama Portrait of a Lady on Fire is visceral filmmaking at its most eloquent. So much of this period piece hinges on textures, sights, and sounds to make the audience believe that we’re living through someone’s romantic memories.