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.
‘Incredibles’ is back after 14 years, and it hasn’t missed a step
Elastigirl is the badass star of Incredibles 2.
“In the 14 years since The Incredibles came out, superhero movies have exploded. Circa 2004, we got maybe two a year; in 2018, Incredibles 2 is the third such film within the past two months.
In that context, it’s easy to imagine Incredibles 2 getting swallowed up by the wave, buried under the meta jokes of Deadpool and the ambitious world-building of Marvel. Instead, however, Incredibles 2 rises above it. Here’s how.
The action is, well, incredible
Incredibles 2 opens with a city-destroying battle of good versus evil that’s become a staple of the genre. But Pixar pulls it off with such style and finesse that it retroactively makes the competition look sloppy.
The choreography is sharp and dynamic, playing with each character’s specific strengths and weaknesses. Elastigirl’s bendiness contrasts and complements Mr. Incredible’s brute force, while Dash’s super-speed combines nicely with Violet’s force fields.
Meanwhile, the camerawork and dialogue keep our focus on the characters, not just the spectacle. It serves as quick reintroduction to the leads, their personalities, and their relationships, in case your memory’s grown fuzzy after a decade and a half, and underlines why this particular fight is important to them.
It’s like the best of the Avenger-on-Avenger bits from Captain America: Civil War or Avengers: Infinity War – only better, because….”
‘Ocean’s 8’ is a fizzy good time, and not much more
Round up the gang this one’s a good group hang.
“Ocean’s 8 is the LaCroix of movies: It’s sparkly, it’s fizzy, it goes down easy, and there’s not really any there there.
It’s not totally dumb, but nor is it particularly clever. It’s nice enough to look at, thanks to all its glamorous stars and their glitzy costumes, but not especially stylish.
But just as flavored water can really hit the spot on a hot summer day, so can Ocean’s 8. It’s fun enough to serve as an excuse to chill with some friends, or while away an afternoon in movie theater air-conditioning.
And for all its shortcomings, it does deliver in some key areas. Here are five reasons to check it out.
5. The girl-power message, I guess
The basic premise of Ocean’s 8 is that it’s Ocean’s 11, only with eight women instead of eleven men, and with the Met Gala instead of Las Vegas. In this era of shared universes, of course there’s a narrative link to the earlier films – the ringleader in 8 is Sandra Bullock’s Debbie Ocean, sister of George Clooney’s character from the Steven Soderbergh movies.
The act of recasting what was once a “male” property with female leads still feels like a statement in this day and age – even if it all it’s saying are “women are people, too.” Ocean’s 8 occasionally nods in the direction of feminist messaging, having one leading lady point out to another that women get ignored (a plus, when you’re trying to pull off a heist) and another execute a stunt involving the country’s “Founding Mothers.”
For the most part, though, Ocean’s 8 lets those themes recede into the background. It doesn’t want to tell you how powerful it can be when women band together in a man’s world – it just wants to show you how fun it’d be to round up a girl gang and steal some jewels. In its own way, that’s kind of empowering, too.
4. The vivid personalities – and fanfic-worthy pairings
Like any good ensemble caper, Ocean’s 8 establishes a cast of colorful personalities, and spends some time sitting back to see what happens when they mix.
There are a few scenes that seem tailor made to inspire fan fiction.
This particular crew does happen to be starrier than usual. In addition to Bullock, there’s Cate Blanchett as….”
Reviews are in for ‘Jurassic World: Fallen Kingdom’
“The latest installment of the Jurassic Park series sounds like a palatable film for fans of the series but doesn’t offer up a completely enrapturing experience the whole way through.
Reviewers have weighed in on the upcoming Jurassic World: Fallen Kingdom, the sequel to Jurassic World, and it isn’t getting the most thrilling praise so far. In this movie, a volcano at the Jurassic World theme park has erupted, sending the human protagonists and a handful of dinosaurs away from the island and into normal society which is fine for the humans but not so great for the dinosaurs.
Read on to see what the critics thought of Jurassic World: Fallen Kingdom
The visuals don’t disappoint
Matt Chapman, DigitalSpy:
Claire Dearing (Bryce Dallas Howard) guilts Owen Grady (Chris Pratt) into returning to the island to rescue his beloved raptor Blue, before an out of control volcano kills every living thing. What follows is some of the most beautiful destruction you’ll ever see onscreen, with a few heart-in-mouth moments for our intrepid dino wranglers and their support staff, Daniella Pineda’s spunky scientist Zia and Justice Smith’s jumpy tech guru Franklin.
Gav Murphy, IGN:
If you thought there was going to be too much CGI in Fallen Kingdom, you’re wrong. There’s a surprising amount of practical effects on display – in fact, it’s the first time I’ve felt genuinely disgusted by these creatures. From the flies buzzing around Rexy’s stinking sleeping body to the mucus and phlegm we see, there’s an impressive blend of both CGI and practical effects in use that helps bring us closer to the dinosaurs. This closeness helps us either feel more afraid or in the case of Blue, a dramatic medical treatment scene really highlights the bond that Owen has with her. Practical effects and CGI are merged seamlessly here and we end up with a touching sequence that also draws in video flashbacks of Owen raising Blue which are obscenely cute.
Dinosaurs aren’t the main event
Owen Gleiberman, Variety:
The film provides plenty of encounters with our stomping, gnashing primeval beastly friends — yet for much of Fallen Kingdom, they are caged, shackled, sedated, wounded, and otherwise subdued. They’re right up there on screen, but too often they don’t feel like the main event….”
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