If you look closely, you’ll notice that The Post is a Mr. Show reunion.
It’s no accident that Steven Spielberg’s The Post feels timely. The whole thing came together in about eight months, making it one of the first studio pictures to directly respond to the Trump presidency.
With such a rushed schedule, you might expect The Post to suffer in quality. But that’s not the case at all, at least according to the reviews, which range from mildly positive to raving. Here’s what the critics are saying about The Post:
It’s more thrilling than you’d expect
Todd McCarthy, The Hollywood Reporter:
An unofficial prequel to All the President’s Men 41 years after the fact, The Post stirringly dramatizes the tale of how The Washington Post and its equivocating owner rose to the occasion by publishing the Pentagon Papers in June of 1971. Punchy and quick-pulsed, it’s a fine example of that now-rare species, the big-city newspaper melodrama.
Bilge Ebiri, Village Voice:
Spielberg connects with the derring-do at the story’s heart. Beyond being one of our greatest filmmakers, he’s also one of our most self-aware, and understands that he’s crossing the streams a little: He shoots this political drama like a long-lost Indiana Jones movie.
It’s maybe a little heavy-handed – but it works
Kevin Fallon, The Daily Beast:
The script is chockful of the kinds of platitudes that would ordinarily arm critics with enough artillery to eviscerate a movie for being corny, heavy-handed, or unforgivably maudlin. But with towering, bonafide movie star performances by Streep and Hanks—respectively the best they’ve been in years—and an assured, almost dutiful directorial energy from Spielberg, The Post becomes less a movie than a mission.
Robbie Collin, The Telegraph:
Spielberg pushes these moments right to the brink of corniness, but you wouldn’t want it any other way, particularly as the ink-stained romance of the newspaper business plays up to his sentimental streak. There is a glorious sequence in which one of the key reporters, played with hangdog nobility by Bob Odenkirk, is tapping at his typewriter late at night when the printing presses rumble into action down below. He feels the building shudder and allows himself a satisfied smile: his words have literally caused the earth to shake.
It’s probably gonna win an Oscar
Kristy Puchko, Pajiba:
You’ll watch The Post and think of movies like All The President’s Men, The Paper and Network. And then maybe you’ll realize those movies are all decades old. And that maybe why you’re thinking of them is because this movie feels like it could be decades old. It’s a good, reliable drama. It’s also safe, predictable Oscar bait with nothing new to say.
Richard Lawson, Vanity Fair:
Spielberg’s film is rousing and cannily made. It’s a straight-down-the-middle Hollywood liberal picture that might drop a big studio bomb on the year’s smaller Oscar hopefuls. The Post just hits so many of the right buttons, so effectively, that it seems like something made in a lab to win big showbiz awards handed out by happily comforted and inspired Democrats.
The Post is in theaters December 22.
Ryan Gosling’s ‘First Man’ is an Awe-inspiring Space Spectacle
Ryan Gosling, Corey Stoll, and Lukas Haas in Damien Chazelle’s First Man.
“First Man is a big film about the small things that went into an enormous event.
It’s no spoiler that the climax here is Neil Armstrong’s 1969 walk on the moon. For the first 90 minutes, though, First Man holds back on the inherent drama of that premise.
It follows Neil (Ryan Gosling) as he makes his way through the NASA ranks, and at home as he mourns the death of his young daughter. It spends time on a bunch of promising missions that go nowhere, and on complex questions the engineers will have to solve. There’s some action sprinkled in there, and a few precious moments of euphoria. Mostly, it’s sweating the small stuff.
That choice is puzzling at first, even frustrating: We know the guy gets to the moon, so let’s get on with it already! Why are we wasting time with all this minutiae?
But those tedious concerns and disappointing dead ends are exactly the point. First Man is about work, and more specifically about the enormous amount of work (and luck) that goes into an achievement as momentous as the moon landing. It demands patience, but it gave back what I put into it several times over.
Director Damien Chazelle keeps his eye on the unromantic details that usually get glossed over in retellings of historical events. Literally: Much of this movie is composed of shots of dials, switches, and the top half of Gosling’s face……………………..”
David Gordon Green’s ‘Halloween’ is a satisfying treat
Laurie Strode and Michael Myers face off once more in the new Halloween.
Like most long-running horror franchises, the Halloween series has seen its share of ups and downs over the decades.
But those skeptical of the newest incarnation, directed by David Gordon Green, can put their fears to rest. This one’s good. Really good.
Faced with the challenge of sorting out the messy mythology of the sequels, Green (along with his co-writers, Danny McBride and Jeff Fradley) doesn’t even try. Although there are references to the others, only the original Halloween is completely canon here, and all of its relevant plot points are recapped in the new Halloween.
That said, it’s still a good idea to (re)watch the 1978 film before going into the 2018 one, because it’ll make the latter all the more satisfying. Green has fun recreating or subverting specific images and sequences from the first film – maybe too much fun, if you were hoping for something more surprising.
The premise is this: 40 years have passed since the first Halloween, and Michael Myers has spent all that time in prison. But he manages to escape just in time for his favorite holiday, and naturally he goes after Laurie Strode, the girl who survived his last killing spree. She, in turn, has spent the past 40 years waiting and preparing for just this occasion.
In that time, Michael’s notoriety has only grown. People are fascinated by this silent enigma, for all sorts of foolish reasons. Is he capable of rehabilitation, or is he an incorrigible force of pure evil? What might he say if he ever spoke? What’s going on in his head? What’s it like to be in his head?
A Star is Born Review: It Makes a Movie Star out of Lady Gaga and a Star Director out of Bradley Cooper
Bradley Cooper and Lady Gaga in A Star is Born.
“It’s the same story told over and over. All the artist can offer the world is how they see those 12 notes.”
The character who utters this line in A Star is Born is talking about music, but he may as well be talking about the movie he’s in. This is the third remake of an 81-year-old movie, one whose beats are so familiar that you’ll recognize them even if you’ve never laid eyes on any of the other versions.
There’s the sad celebrity self-medicating with booze and drugs, the talented ingenue who becomes an overnight sensation, the whirlwind romance threatened by the cold, hard light of day. You can see where all of it is headed from two miles away.
But that doesn’t matter, not when Bradley Cooper is executing the formula so well. From the view at TIFF, A Star is Born looks to be a commercial and critical success that’ll have people buzzing all fall, and maybe even into this winter’s awards season. Here’s what you need to know.
1. Lady Gaga is a movie star, baby
That Gaga had pipes worthy of a movie musical was never in doubt. But A Star is Born proves she’s a hell of an actor, too. Her Ally has the more dramatic arc of the movie, evolving from bright-eyed nobody to glamorous pop star, and Gaga’s performance rings true every step of the way. For large swaths of the movie, I forgot that I was watching at one of the most famous musicians in the world – she was just Ally.
2. Bradley Cooper has a bright future as a director
A Star is Born is Bradley Cooper’s debut as a director, but you’d never know it by watching. This film has the surefootedness of someone who’s done this a dozen times before, and made me curious to see what he might get up to next.
Oh, and another of Cooper’s gifts as a director? He’s very good at directing one Bradley Cooper. Jackson Maine is one of Cooper’s most riveting performances – Cooper knows exactly how to bring out the nuances playing across Jack’s face in the many scenes he spends gazing at Ally.
3. The chemistry between Cooper and Gaga is
When Jack and Ally meet for the first time, it’s not immediately apparent just how hot this connection is going to run. Cooper gives his characters time to warm up to each other, letting them goof around and reveal their personalities before they fall for each other – so that when they do finally connect, it feels like watching a house catch fire.
4. The music might give you chills
The best moment in A Star is Born is also the best moment from the A Star is Born trailer: The absolute wail that comes from Gaga’s throat during the song “Shallow,” the first time Jack and Ally perform together onstage…………………………..”
Check Out the Rest of the Article Here: https://mashable.com/article/a-star-is-born-movie-review/
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