Transformers Hero Storm (This Week’s Movies)

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Mark Wahlberg, Transformers: The Last Knight (courtesy Paramount Pictures – Bay Films)

Links to my reviews published this week in the Herald and Seattle Weekly, and etc.

Transformers: The Last Knight. “Bay has now made five of these things. Even at their best (Part 3 was wild fun), they are ludicrous and insane. The fact that they’ve been popular will astonish and puzzle future generations, much as the presence of the Transformers is bewildering to the Earthlings of the films.”

After the Storm. “Kore-eda has gotten to the point where even when his work isn’t top-drawer, it’s exceptionally nice to be around.”

The Hero. “For diehard Sam Elliott fans, think of this as a bookend to his 1976 cult picture, “Lifeguard,” in which he played a beach hunk contemplating the meaning of it all.”

The most recent Framing Pictures panel is watchable online at the Seattle Channel website and viewable, TV-wise, on the Seattle Channel over the course of the next few days. The panelists (Richard T. Jameson, Kathleen Murphy, Bruce Reid, and me) sort through the new Twin Peaks, Wonder Woman, plus new home-vid of Nicholas Ray’s They Live by Night and Sam Peckinpah’s The Ballad of Cable Hogue. Watch here.

Movie Diary 6/21/2017

War for the Planet of the Apes (Matt Reeves, 2017). Hey, they finally did one of these I liked. I mean, since the 70s. It’s as slow and serious as a biblical epic, and the approach kinda works. (full review 7/14)

Baby Driver (Edgar Wright, 2017). This one got a lot of fun buzz in its festival screenings, and “fun buzz” is an apt term for it. Possibly the only term. Jamie Foxx, Jon Hamm, Kevin Spacey all have good day-off vibes going. (full review 6/30)

Movie Diary 6/20/2017

Transformers: The Last Knight (Michael Bay, 2017). It’s dumb. A few shots are busy and wild, but sitting with an audience watching this idiocy is like measuring the end of culture as we know it. It stars Mark Wahlberg and Anthony Hopkins – just savor that sentence for a moment, too. (full review 6/21)

The Hero (Brett Haley. 2017). Sam Elliott does a very pleasant job of inhabiting a role that is tailor-made for him. The movie has some stock situations but a couple of nifty ones, too. (full review 6/23)

Movie Diary 6/19/2017

Transformers: The Last Knight (Michael Bay, 2017). Embargo! See you 24 hours from now.

47 Dinners Down (This Week’s Movies)

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Salma Hayek, Beatriz at Dinner (courtesy Roadside Attractions)

Links to my reviews published this week in the Herald and Seattle Weekly, and etc.

47 Meters Down. “The dialogue is terrible. Moore and Holt are likable enough actresses, but they sound like Romy and Michele on a deep-diving expedition.”

Beatriz at Dinner. “The movie prepares us for catharsis, but this proves to be a fake-out. Instead, a less satisfying and more haunting finale awaits.”

The most recent Framing Pictures panel is watchable online at the Seattle Channel website and viewable, TV-wise, on the Seattle Channel over the course of the next few days. The panelists (Richard T. Jameson, Kathleen Murphy, Bruce Reid, and me) sort through the new Twin Peaks, Wonder Woman, plus new home-vid of Nicholas Ray’s They Live by Night and Sam Peckinpah’s The Ballad of Cable Hogue. Watch here.

Movie Diary 6/13/2017

47 Meters Down (Johannes Roberts, 2016). Two sisters (Mandy Moore, Claire Holt) get into a shark cage, which reminds me to pass along one of my pieces of life wisdom in case you ever need it, which is DON’T GET INTO A SHARK CAGE. The movie might be passable if there were no dialogue, but that’s not how it works. (full review 6/16)

Movie Diary 6/12/2017

Wallflower (Jagger Gravning, 2017). A confident narrative-directing debut on the subject of the 2016 shooting massacre on Seattle’s Capitol Hill. Many things get done right here, including the casting (Atsuko Okatsuka and Conner Marx are both heartbreaking) and the decision to dispense with the shooting at the beginning of the movie, thus avoiding the lurid “countdown” aspect that can happen in this kind of film. Without trying to solve the puzzle of a murderer or getting heavy-handed about it, the movie does offer a quiet drumbeat of how warped masculinity takes its toll, especially on an unformed personality. (screened at SIFF)