Few movies can pull off comedy that’s been conceived from clumsy Americans on vacation. I Don’t Understand You is one of those anomalies. Former Big Mouth co-stars Andrew Rannells and Nick Kroll star as Cole and Dom, a married couple who have been trying to adopt a child with no such luck. After several attempts, they’re matched with expectant mother Candice (Amanda Seyfried) just before a vacation to Italy to celebrate their 10th anniversary. Now with…
Named as one of Variety’s top horror movies of the year so far and hailed by shock comic Anthony Jeselnik, Spanish import The Coffee Table is one hell of an unforgettable and disturbing experience.
Let’s start with the title: Do Not Expect Too Much from the End of the World. Writer/director Radu Jude sets the stage with that seemingly pessimistic branding. However, as the film works down from that title, the audience experiences a different interpretation. While that phrase may be a downbeat premonition, it’s a reminder of how being satisfied with your wellbeing is crucial in a disappointing time that never seems to stop “going”. Basically, it’s an…
You’ve heard of an intervention. But, have you heard of a “life intervention”? I hope you haven’t. If you have, I sure hope it wasn’t under the guidance of a similar core clique as seen in Unfriending.
The intentions of Retrograde are tough to pin down and, if the viewer likes the movie, the Canadian indie is even more difficult to recommend because of how persistently obnoxious it is. I should know because I belong in this camp, and I’m going to do my damndest to explain why I think Adrian Murray’s movie is a brilliant comedy.
Triangle of Sadness pitches itself as a sophisticated comedy with “biting” satire about elitist attitudes during class wars. However, the jabs made by writer/director Ruben Östlund are nothing more than the filmmaker taking swings at low-hanging fruit for a ridiculously long runtime; intercut occasionally by tired attempts to be outrageous to offset an arthouse reputation.
Triangle of Sadness pitches itself as a sophisticated comedy with “biting” satire about elitist attitudes during class wars. However, the jabs made by writer/director Ruben Östlund are nothing more than the filmmaker taking hackneyed swings at low-hanging fruit for a really, really long time.
As rude and unappealing Funny Pages can be, it’s a brutally honest and funny character study of a young artist who channels trauma and grief into his aspirations to be a successful cartoonist. A true tale of an unlikely opportunist.
The Good Boss offers a mannered approach to the self-destructive character study; separating it from similar company pitched in a much more frantic, anxiety-inducing tone (Nose to Tail, Uncut Gems).
