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Movie Review: Christopher Robin Revives Winnie the Pooh

Charmaine Blake

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“It’s been a banner summer for crying. Some of the tears came from movies you’d expect, like one in which an eighth-grade girl struggles with her self-esteem. Other times, they were sneak-attack snivels, like when a movie-musical sequel based on the songs of ABBA triggered four different tear-jerking moments, one of which had me stifling an audible shriek-sob.

Anyone who saw the trailer for Disney’s new Christopher Robin film, which gives Winnie the Pooh and his friends in the Hundred Acre Wood the Paddington treatment, probably expected to have their heart strings plucked a bit. This movie gives them a full-blast bluegrass strum.

That’s one willy, nilly, silly, old, emotionally devastating bear.

Maybe its because were all feeling a bit brittle lately. There are Heffalumps and Woozles at every terrifying turn in todays world. We could use an old friend to help fight them off and feel safe again.

Christopher Robin is written by Allison Schroeder (Hidden Figures), Tom McCarthy (Spotlight), and Alex Ross Perry (Listen Up Philip), directed by Marc Forster (Finding Neverland), and of course, inspired by the characters of A.A. Milne and Ernest Shepard. Its a veritable Avengers of emotional storytelling. Together, they prove that feelings are still movies most valuable special effect. (Though the special effects used to animate these characters is pretty darned impressive, too.)

When we meet up with our old friends, the animals are gathered for a farewell party for young Christopher Robin, who will soon be going off to boarding school. A clever narrative device then makes…………..”

Read more: https://www.thedailybeast.com/christopher-robin-revives-winnie-the-pooh-as-an-emotional-terrorist

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New Movie Reviews

Stranger Things Season 3 receives Rave Reviews from Critics

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New Movie Reviews

Midsommar Review – 5 Stars!

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Florence Pugh is plunged into a terrifying pagan bacchanal in a magnificent folk-horror tale from Hereditary director Ari Aster

“There’s nothing cosy about these midsummer murders, and Midsommar could turn out to be folk-horror for the Fyre festival age. Ari Aster is the film-maker who made his feature debut just last year with the chiller Hereditary, and now presents us with this fantastically sinister and self-aware Euro-bacchanal, clearly inspired by the 1973 classic The Wicker Man. And that is not the only riff. When Hereditary came out, I guessed (correctly, as it turned out) that the director was thinking about Bergman’s Cries and Whispers. I’m now going to bet 20p that before shooting Midsommar, Aster took another look at Tarkovsky’s The Sacrifice.

Midsommar is an outrageous black-comic carnival of agony, starring charismatic Florence Pugh in a comely robe and floral headdress. It features funny-tasting pies and chorally assisted ritual sex, with pagan celebrants gazing into the middle distance and warbling as solemnly as the young dudes in the Coca-Cola TV ad about teaching the world to sing. It’s all set in an eerily beautiful sunlit plain, bounded by forests and lakes. This is supposed to be somewhere in northern Sweden, but was filmed in Hungary, and Aster, cinematographer Pawel Pogorzelski and production designer Henrik Svensson have collaborated on what are surely digitally assisted images: the sky and fields becoming a bouquet of vivid and beautiful blues and greens. The music from British composer Bobby Krlic (AKA the Haxan Cloak) is sensually creepy………………………”

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What’s My Name: Muhammad Ali review – from prodigy to legend

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Part one of Antoine Fuqua’s film shows the transformation within a decade from 12-year-old boxing novice Cassius Clay into the heavyweight champion of the world

“I asked my mother when I went to church on Sunday: ‘Why is everything white? What happened to all the black angels?’”

So Muhammad Ali told an interviewer, before giving a knowing look and – boom! – the punchline. “Black angels are in the kitchen preparing milk and honey.”

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