There’s a new Spider-Man in town, and he’s freaking amazing.
“To say that Spider-Man: Into the Spider-Verse feels like a comic book come to life may sound like faint praise, seeing as we’re two decades into a superhero movie boom that the original Spider-Man helped jump start.
But few recent films have embraced the comic book style and sensibility — its visual quirks and anything-goes openness — as wholeheartedly as Spider-Verse has, or enjoyed as fully the potential in combining the two mediums.
Right off the bat, Spider-Verse acknowledges that it’s probably the 700th Spider-Man story you’ve seen in the past few years. A voiceover “yada yadas” the basics of Peter Parker’s origin story, while winking at almost every iteration of it; even the much-maligned Spider-Man 3 gets a rueful shoutout. This movie isn’t afraid of a laugh at its own expense, though the knowing humor is more affectionate than biting.
Spider-Verse has a distinct feel unlike any other Spider-Man movie before.
When that montage ends with Peter telling us “there’s only one Spider-Man,” it plays like another joke, because we’ve seen so many Peters over so many years. And becomes even more of one once we meet Miles Morales (voiced by Shameik Moore).
Though Miles has been a fan favorite in the comics since 2011, Spider-Verse marks his first time on the big screen. Accordingly, Spider-Verse has a distinct feel unlike any other Spider-Man movie before it.
Spider-Verse eschews both the slick three-dimensional look of most modern studio animated movies (think Pixar or Illumination) and the gritty “realism” of most live-action superhero movies, in favor of a flatter, sketchier aesthetic bursting with poppy colors, Ben-Day dots, and motion lines. It’s an obvious nod to Spidey’s ink-and-paper history, but it’s also an expression of how Miles, himself a character who’s grown up admiring Spidey and reading Spidey books, might view his own superhero saga…………………………………………”
Amazing Grace review – Soul-shaking gospel from Aretha Franklin
A spellbinding performance by the singer is captured in Sydney Pollacks 1972 film
“The 1970s may have been the heyday of the rock concert film, but the genre was frequently marred by questionable performances and legal squabbles. Whether its Led Zeppelin going off the boil in the wrangle-ridden The Song Remains the Same or the Rolling Stones finding themselves stars of an unfolding horror movie in the Maysless Gimme Shelter, these movies are fraught with strife. Its significant that the most celebrated concert film of all, Martin Scorseses The Last Waltz, captured the Band as they were splitting up, cementing the genres long-standing funereal affiliations and serving as inspiration for Rob Reiners nail-in-the-coffin mockumentary This Is Spinal Tap.
The story of Amazing Grace, centring on Aretha Franklins two-night performance in 1972 which led to the biggest selling live gospel album of all time, is no less troubled. Apparently inspired by the financial success of Mike Wadleighs festival behemoth Woodstock, and with an eye on increasingly synergistic film/music/TV markets, Warners enlisted Oscar winner Sydney Pollack to direct multi-camera 16mm footage of the 29-year-old Franklin recording her next album at the New Temple Missionary Baptist church in Los Angeles.
Unfortunately, with his background in drama rather than music docs, Pollack failed to use clapperboards or markers, making it virtually impossible to synch the resulting picture with the recorded sound. Not even lip readers, who were reportedly enlisted to sift through hours of silent film, could solve the problem.
Instead, the footage languished in…………………………………………………………”
High Life Robert Pattinson Movie Review
An astronaut on an odyssey to a distant black hole faces the challenges of parenting and existential panic in Claire Denis mysterious drama
“Claire Deniss deep-space trauma High Life is an Old Testament parable catapulted forward into the 23rd century, a primal scene in a pressurised cabin of sci-fi pessimism, suppressed horror and denied panic. As if in a recurring dream, Denis brings us repeatedly to the image of a cream-panelled spaceship corridor that curves sharply around to the right; the area is at first pristine and then, as the years go by, shabby and derelict, stained with what may be body fluids. And what is around that corner?
This is a bizarre new creationist myth for those of us who ever wondered in childhood, and then forgot to wonder, about the taboo-breaking involved in propagating a race from just two people in the Garden of Eden, or two species representatives in the ark. It is also a tale of imperial expansion and sexual beings under pressure, just as in earlier Denis movies such as Beau Travail (1999) or White Material (2009); this is written by Denis with Jean-Pol Fargeau, Geoff Cox and Nick Laird, shot with luminous mystery by cinematographer Yorick Le Saux, with an eerie musical score by Stuart Staples of the band Tindersticks.
At its centre is Monte, played by Robert Pattinson, who is evidently all alone on a spaceship that exterior shots reveal to be shaped entirely without the elegant streamlined curves of a craft designed for purposeful travel. It is huge and rectangular, suspended in space like a clunking great container unit full of rubbish. Actually, Monte isnt entirely alone. He has a tiny infant with him called Willow, whom he tends to and talks to conscientiously but unsmilingly.
Netflix’s ‘Someone Great’ is a coming-of-age rom-com for twenty-somethings
“When Rolling Stone calls, aspiring music journalist Jenny (Gina Rodriguez) knows you have to answer even if it means moving across the country to San Francisco and jeopardizing her relationship with Nate (Lakeith Stanfield), her boyfriend of nine years.
In Netflix original Someone Great, Jenny is left heartbroken when Nate decides they should end the relationship. In hopes of leaving New York City with better final memories, Jenny gets together with her two best friends Erin (DeWanda Wise) and Blair (Brittany Snow)to have one last hurrah at the exclusive Neon Classic concert.
DIRECTOR: Jennifer Kaytin Robinson
The coming-of-age film explores turning 30 and saying goodbye to people and places that no longer belong in your life.
Someone Great tells a tale about life transitions and the growing pains that come with getting older. Its a coming-of-age story for twenty-somethings; its about turning 30, transitioning out of your twenties, and saying goodbye to people and places that no longer belong in your life. Someone Great is heart-wrenching because its relatable and challenges viewers with the concept that sometimes the best decision for yourself is the hardest one to make…………………………………………………………..”
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