Category: Film

  • The Gospel According to André (2017)

    Reviewed by Ramona Prioleau

    The Gospel According to André is a 2017 documentary that chronicles the life and career of fashion journalist and superstar André Leon Talley. From his beginnings in Jim Crow-era North Carolina to his climbing of the ranks and barrier-breaking work at high-fashion magazines like Women’s Wear Daily and Vogue, the film is a patient but laser-focused telling of a life unlike many others.

    Kate Novack, an accomplished documentarian in her own right, keeps The Gospel According to André on track and focused. This is important because Talley, who appears in the film himself at length, clearly has a version of his story in his head, but Novack, crucially for a documentary filmmaker, doesn’t always subscribe to it. The film never challenges Talley’s version of events, but it also understands that a man’s life is far more than just the story he tells himself. It’s also the stories others tell.

    In this way then, The Gospel According to André is more than your average fashion documentary. A lot have come out in recent years, but The Gospel According to André is one of the view fashion docs that understands that, in the end, fashion isn’t really about fashion at all. Fashion explores the intersections of race, sexuality, and being, and so does this film. Novack tells a story that’s bigger than any one of its parts, bigger than its subject even, and she does it in a capable and satisfying manner.

    The Gospel According to André is a must-wash for fashion fans, though fashion newbies shouldn’t stray away either. The film is exciting, engaging and boisterous, just like its subject. Critically though, it’s also wide-reaching and nuanced. This combination — infectious energy crossed with thoughtful direction — results in a film that’s a joy to watch from beginning to end. M

    February 2022

  • Raging Bull (1980)

    Reviewed by Ramona Prioleau

    Besides the Rocky series, Raging Bull may be the most iconic and well-known boxing movies of all time. From legendary director Martin Scorcese, the film tells the story of Jake LaMotta, an Italian-American middleweight boxer whose uncontrollable rage, obsessive sexual jealousy, and hunger for revenge led to the destruction of his career, family and, eventually, his entire sense of self. Adapted from LaMotta’s 1970 memoir Raging Bull: My Story by Paul Schrader and Mardik Martin, the film is usually regarded as one of the genre’s best and one of Scorcese’s finest films.

    Many of Scorcese’s protagonists have a certain inevitably to their story. And in few places is that more evident than in the story of LaMotta. His tale is nothing short of a tragedy and the story of LaMotta’s rise and fall is an example of some of the best screenwriting in modern cinema. The film’s point of view always feels objective and fair in a curious way as the film never takes a stance on Jake’s actions, but rather lets them speak for themselves. This is adaptation at its best—Schrader and Martin are able to turn a biased, subjective memoir into a careful, mythological-esque tale, and it’s nothing short of incredible.

    One of the reasons the script shines so brightly though is because of Robert DeNiro’s legendary performance as Jake LaMotta. In what is arguably his greatest role, DeNiro gives a performance that spans an entire lifetime and consists of nearly every emotion under the sun. DeNiro is believable and grounded in every single scene, and there are few if any others who could pull this role off. But, as is typical for him, DeNiro chews up and spits the LaMotta role out like it’s nothing.

    The film’s stylized black-and-white coloring is also a brilliant touch. Scorsese noted that he decided to film the movie in grey scale after being told that boxing gloves in the era would have been black and monochrome. Nevertheless, the black-and-white nature of the film only enhances the movie’s best aspect. It gives the film a grand sense of historical scale, and it also allows for striking moments in the scenes when there’s blood on the ropes for example. The film noir cinematography is one of the many reasons that Raging Bull transcends its genre and stands as one of the best sports films of all time. M

    December 2020

  • The Old Guard (2020)

    Reviewed by Ramona Prioleau

    Directed by Gina Prince-Bythewood and starring Charlize Theron, The Old Guard is a superhero movie with a twist—its heroes are immortal. Or, more accurately, when they die, they immediately come back to life.

    Released on Netflix after its theatrical debut was cancelled due to the COVID-19 pandemic, The Old Guard follows a band of unkillable action heroes who, in some cases, have taken part in humanity’s battles for thousands and thousands of years. When a new recruit discovers her immortality at the same time that a pharmaceutical typhoon attempts to harvest the heroes’ DNA for his own gain, the group must come together, as they have so many times in the past, to protect humanity from itself.

    With The Old Guard, Charlize Theron adds another movie to an ever-expanding list in her career as a bonafide action star. Her roles in Mad Max: Fury Road or Atomic Blonde were no flukes, and she proves once again with The Old Guard that her status as a leading action hero is well-deserved one. From John Wick-esque moments in the modern day to full-scale flashbacks of ancient wars, Theron shines throughout with a unique blend of grace, athleticism and lethality.

    The biggest issue with The Old Guard is that it never fully realizes itself. The concept is solid (it’s based on a best-selling graphic novel) and the characters are good, if a bit prototypical, but little of this is executed well. The characters are interesting, yes, but they lack the depth and wisdom that one would expect from thousands of years of life on earth. The concept of immortal warriors hiding and fighting their way through history is a fascinating one, but the pacing and story beats of The Old Guard are not all that different from any other major blockbuster action film out there. There is simply an abundance of wasted potential. Consider the scriptwriters’ choice of setting—bafflingly, with all of human history at their fingertips, they choose to spend the entire third act of the film in a white, featureless pharmaceuticals building.

    This isn’t to say that The Old Guard is unwatchable. Vital to this is director Gina Prince-Bythewood, as it is her touch that directly contributes to the best parts of the film. She creates moments of humanity in her immortal heroes, using nothing but the camera, in a way that is both patient and understanding. Prince-Bythewood has proven through her career that she knows how to shoot bodies, whether it be in Love and Basketball or Beyond the Lights. In the latter, which is about a pop star and her romance with a civilian, Prince-Blythwood consistently uses the camera to show that humanity is at the core of every character, even if something like celebrity distorts it. Something similar happens in The Old Guard. Through quick, close and intimate moments, Prince-Bythewood is again able to imbue larger-than-life figures with life and humanity, except this time they’re ageless immortal warriors instead of chart-topping pop stars.

    Scenes such as this—like one where a contemplative Theron sits by herself, headphones in, breathing deeply and thinking about her extended life—are what separates The Old Guard from other contemporary action or superhero movies. They’re the moments one would be hard-pressed to find in a Marvel film, and they’re the moments that keep The Old Guard from being a complete and total misfire. M

    August 2020

  • Joker (2019)

    Reviewed by Ramona Prioleau

    Released to much anticipation and fanfare, Joker (2019) is the latest film to feature Batman’s most iconic villain, and the first since 2012’s The Dark Knight. In Joker, Joaquin Phoenix plays Arthur Fleck, a struggling standup comedian who turns to a life of chaos and crime after experiencing a number of unfortunate failures and psychotic breaks. The story of Fleck’s journey to become Gotham City’s #1 Most Wanted, Joker is both a prequel of sorts as well as a standalone film in the DC Extended Universe.

    There’s impressive filmmaking to be found all throughout Joker. The cinematography and the coloring are deep and gritty, showing us a Gotham that feels both familiar and new. The soundtrack hides in the background throughout, slowly creating tension and only occasionally taking center stage in a number of triumphant musical moments. And Joaquin Phoenix certainly stands out as Fleck. His casting was a great choice, and he conveys the depths of a fracturing psyche in a way that is unique, odd and believable. His mannerisms—the subtext in his side-eyes or the worry in his furrowed brow—are all hallmarks of a talented performer who’s acting beyond the confines of what’s in the script.

    But that’s where the film really falters — its script. Joker does more than wear its influences on its sleeve; it imitates Scorsese films like Taxi Driver and King of Comedy in a way that is anything but flattering. A number of sequences are plucked directly from the plots of those movies, and instead of subtle winks or references to the tradition, these moments are rather incessant reminders that one could be watching a number of other better films. Joker is captivating for its entire two-hour runtime (Phoenix’s performance makes sure of that), but it’s missing all of the nuance and insight of the films it so clearly wishes it was.

    There’s also the question that so many movie-goers asked when this film was first announced—is it really necessary at all? The answer is no. There’s nothing in Joker that will shake up the character’s 80-year history in any substantive way, and this is where the comparison with Ledger’s Joker goes beyond the actors’ mere skill or performance. Ledger’s performance in The Dark Knight has been seared into the public consciousness. In the 13 years since its release, Ledger’s Joker has become the Joker, perhaps more than any iteration before it. Phoenix’s version, while captivating, already seems to be fading away. The pull of the mystery, of a chaotic clown prince whose history and motives are unknown, may simply be too strong.

    There is a good movie in here somewhere, but Joker’s half-baked, derivative script lets it down at almost every turn. It’s a film that tries so hard to have something to say, that tries so hard to be thoughtful, but in the end, it fails. M

    October 2019

  • Hoop Dreams (1994)

    Reviewed by Ramona Prioleau

    Released in 1994, Steve James’ Hoop Dreams is a landmark of documentary sports cinema. Originally intended to be released as a 30-minute short on the Public Broadcasting Network, Hoop Dreams, which tells the story of two African American high school students and their journey to become professional basketball players, ended up being filmed across 5 years and, by its conclusion, had more than 250 hours of footage in the can. The film, which premiered at the Sundance Film Festival in 1994, earned the distinction of being only the second documentary film ever to be nominated for the Academy Award for Best Editing (although there was serious controversy over the fact that the film was not nominated for more Oscars).

    The film uses high school and extracurricular sports as jumping off point for a deeper exploration of much more serious issues. While technically the film may be about William Gates and Arthur Agee’s attempt to become professional athletes (an attempt that ultimately failed), Hoop Dreams is as much about basketball as it is about race, class, or education.

    Hoop Dreams is also a uniquely American movie as well, as it is an honest, unflinching look at the power of forces like privilege and discrimination have in modern American life. Included on almost every year-end best movie list in 1994, it is a unique cinematic experience that sets it apart from comparable films. And for more 25 years, audiences have appreciated it as such.

    The manner in which Hoop Dreams dissects the sport-industrial complex is gut-wrenching and real, but somehow the film remains optimistic throughout. In the documentary, audiences should not overlook that even though Hoop Dreams is about so much more than basketball, the visual poetry with which director Steve James shoots and frames the sport itself is stunningly beautiful. Everything—from the jump shot to the dribble to the sweat on the players’ brows—is photographed and presented like a love letter to the sport itself. A lot of the film’s optimism comes from this clear and patient understanding of the game.

    James’ and the protagonists’ attentive love for the sport further allows the grander, politically and emotionally-charged portions of Hoop Dreams to shine even brighter. Basketball itself and the films cutting social critique—the two pillars of Hoops Dreams—are never at odds in the film. Instead, the aspects work together and play off one another, making the 1994 film still stand as one of the best, true, sports stories to date. M

    October 2019

  • Black Panther (2018)

    Reviewed by Ramona Prioleau

    Widely anticipated, Black Panther is the first Marvel movie to feature a predominantly Black cast and black director. Directed by Ryan Coogler and starring Chadwick Boseman in the titular role, Black Panther tells the story of T’Challa, an African prince with incredible physical prowess and strength, and his attempt to follow in his recently deceased father’s footsteps.

    Wakanda, the fictional nation in which the film takes place, feels alive and grounded in a way that few other settings in the MCU do, and everything—from the set design to the costumes to the languages the natives speak—contribute to this. Wakanda is a fully realized world, a celebration of black and indigenous cultures. The color and vibrancy that jumps off the screen makes Black Panther immediately stand out among its cookie cutter Marvel contemporaries. Watching T’Challa fight on the edge of a roaring waterfall is certainly more interesting that watching him fight in an airport.

    Another aspect that sets Black Panther apart is Michael B. Jordan’s performance as N’Jadaka, or Erik “Killmonger” Stevens, a near mirror image of T’Challa. If T’Challa stands for maintaining tradition though, then N’Jadaka stands for revolution and for the breaking of boundaries. Neither of these are intrinsically negative things though. In fact, much of Killmonger’s drive comes as much from the desire to right wrongs as it does anything else, and this makes for an incredibly captivating set of motives. It establishes Kilmonger as an antagonist that audiences can fully understand. Killmonger is one of the best the MCU has seen to date, and Jordan’s performance rivals Boseman’s for the best in the film.

    It’s really hard to overstate how much firepower there is in Black Panther’s cast and crew however. The film’s three kick-ass women—Letitia Wright (Shuri), Danai Gurira (Okoye), and Lupita Nyong’o (Nakia)—each steal every scene they’re in, and established actors Andy Serkis and Martin Freeman both nail their supporting roles. Then you have celebrated performers like Angela Bassett, Forest Whitaker and Daniel Kaluuya receiving sixth or seventh billing, a sure sign that your movie is chock full of top-tier talent. Coogler, behind the camera, also shoots a near perfect film. Black Panther’s action and fight sequences are nothing to scoff at, but the manner in which Coogler threads these moments with tender, thought-provoking scenes is nothing short of masterful.

    Black Panther dips its toes in a number of themes, with colonialism, social justice, and the pitfalls of revenge as just a few examples. But watching the film after Chadwick Boseman’s untimely death in August 2020, one realizes that Black Panther is just as much a film about grief and legacy as it is anything else. So much T’Challa’s journey revolves around his reckoning with his father’s death and his trepidation about following in his footsteps. Seeing T’Challa in the Wakandan afterlife reads far differently now than it did when the film was released, and it’s hard not to think about the legacy that the young actor left behind.

    Black Panther has a little bit of everything. Impeccable worldbuilding, stellar performances, and a heart more resonant than most of its comic book peers all combine together to make a film that transcends its genre. It’s not only one of the best movies in the Marvel canon, but one of the best action-adventure films of the last decade. M

    February 2018

  • I, Tonya (2017)

    Reviewed by Ramona Prioleau

    Part drama, part black comedy, part sports film, 2017’s I Tonya is one of the most curious and interesting sports films to come out of the last few years. Following the multifaceted, ever-controversial story of ice and figure skater Tonya Harding, the film, which stars Margot Robbie in the leading role, follows the life of the athlete and specifically the events leading up to and following her connection to the 1994 attack on her rival Nancy Kerrigan.

    Since the film is juggling a few genres, I, Tonya’s biggest issue is when it fails to keep all the figure skaters in the air. I, Tonya tries to do too much at once—the film attempts to be funny but dramatic, honest but salacious—and because of this, it fails on a number of levels. It’s as if, like so much of America, the film can never quite decide what it thinks about Tonya Harding. It can’t quite choose what tone it wants to take, and the film is less effective because of this. Do we trust Tonya? Who knows. The film certainly doesn’t seem to have an answer.

    The film’s unevenness is also apparent in the manner in which the film is produced. Everything, not just the tone, is inconsistent. The narration, the point-of-view, the on-screen text, it all changes and shifts throughout the movie, in a way that’s anything but clever. This results in a film that feels patchworked and thrown together.

    Robbie, however, as she so often does, redeems all of this and carries the film. She delivers a roaring performance full of charm and personality. The actress disappears completely into the character, and it’s one of the few roles in the actress’ career that seems to match her unstoppable talent. Sebastian Stan and Allison Janney also deliver fantastic supporting roles that – despite the messy narrative and the half-baked execution – keep the film interesting throughout.

    I, Tonya is a messy movie — it’s inconsistent and halting, oddly paced and jolting— but then again, so is the story it’s trying to tell. Perhaps, on that level, the film is a roaring success. Either way, the movie is an off-beat and oddball of a film that has a little something for everyone. M

    January 2018

  • Get Out (2017)

    Jordan Peele’s film Get Out has been one of the biggest surprises of the last ten years. Bursting onto the scene in his directorial debut, Peele, in a single 104-minute film, established himself as one of the most interesting directors working today. The film, an immediate hit upon release, was wholly and utterly unique, and it launched the career of a Hitchcock-esque director whose full impact on the film industry is still yet to be seen.

    Get Out follows Chris (Daniel Kaluuya) as he joins his girlfriend Rose (Alison Williams) on a trip to meet his significant other’s parents for the first time. When Chris first arrives, the parents and their neighborhood friends are sunny, cheerful and over-accommodating, and Chris reads this as anxiety over their daughter’s inter-racial relationship. However, Chris quickly discovers that the family has suspicious ulterior motives, and as he investigates the mystery, his well-being and his life are continually put in danger.

    One of Get Out’s biggest triumphs is how genre-bending it is. What starts as a somewhat modern interpretation of Guess Who’s Coming to Dinner quickly evolves (or devolves, perhaps) into a chaotic blending of genre. Horror, thriller, action and comedy all collide, creating something that feels like a breath of fresh air in a blockbuster landscape full of derivative ideas. Get Out is original; it’s the kind of film you can’t help but ask your friends if they’ve seen yet. I remember my first viewing of it in 2017; the audience, myself included, had crawled into the backs of their chairs and yelled at the screen for twenty minutes by the time the film was finally over. It was unlike anything I’d ever experienced at the theater.

    Peele’s previous career in comedy is on full display in this film, and it’s a key to why Get Out never feels confusing or unfocused. Make no mistake, the film is not a thriller in disguise of a comedy; it is a comedy. There are a number of laugh out loud moments in Get Out, some from structured jokes and others from uncomfortable situations, and it’s these moments that ease the audience into a false sense of security. The film would not work nearly as well were there not a comedic veteran behind it.

    But in addition to being a hilarious, satisfying and nail-biting film, Get Out is also incredibly and profoundly insightful. The messages it sends and the comments it makes about the experience of a black man in an all white community are somehow both explicit and subtle at the same time. In attracting audiences of all kinds with it’s off-the-wall originality, Get Out is able to present a frenetic tale about the dangers of being black in America, and while everything in the film seems utterly unbelievable at first, it’s not too far of a jump to things that happen in the U.S. every day. It’s this that takes Get Out to the next level, that pushes it beyond an exciting but forgettable watch. There’s layers upon layers to Get Out, more so than in almost any directorial debut around. It is a triumphant example of pre-eminent genre filmmaking.M

    December 2017 

  • The Greatest (1977)

    Reviewed by Ramona Prioleau

    The Greatest, released in 1977, is a biographical sports film about the life of Muhammad Ali. The film, in which Ali stars as himself, follows Ali from his time at the 1960 Summer Olympics to his winning of the heavyweight crown from boxer George Foreman in their now famous 1974 “Rumble in the Jungle” fight. It is based on The Greatest: My Own Story, a book written by Muhammad Ali and Richard Durham and edited by author Toni Morrison.

    The Greatest is not a great film. The editing is atrocious, and the directing is haphazard and without identity. The film jolts and slouches with no real pace, and it is not really an easy film to watch. However, that does not necessarily mean that the film is not worth watching. The Greatest is the type of movie that one can be assured would unlikely be made today. It is curious and quirky; the fact that Ali plays himself is something that seems foreign in today’s Hollywood. Imagine, if you will, if Tom Brady announced next month that he would play himself in a film about his life. It would seem positively odd, and the mere oddity of this film existing shouldn’t necessarily be glossed over.

    Ali was not an actor though and it is likely that he could have only played himself. However, the ferocity and energy that the boxer brought into the ring is apparent in his performance as a movie star. This is in part simply because of the subject matter and the events of the film itself, yes, but, beyond that, there is something powerful and striking about Ali’s performance in this film. That fire, the unchecked power that always seemed to be hiding behind Ali’s eyes, is captured by the camera brilliantly.

    However, even with Ali in front of the camera and somewhat behind the script, the film feels far—too far—out of the boxer’s hands. The movie is whitewashed to a degree (perhaps unsurprising for the time in which it was released but still an important and troubling aspect) and the agency of the film never seems to belong to Ali. This is a major contributor to the sort of slapped-together feeling the entire film has. It feels like 5 different movies at once, 5 different ideas and visions all vying for the top spot and for the audience’s attention. Ali’s name is simply not enough to rise above all this noise; the film is in desperate need of more focus and more attention.

    The Greatest is certainly not a top tier sports movie, but it’s still worth checking out. If anything, the film should be viewed both as a curious piece of Hollywood history and as a piece of boxing and Ali history. M

    May 2017

  • Rocky (1976)

    Reviewed by Ramona Prioleau

    Released in 1976, Rocky is a sports drama that stars Sylvester Stallone in the title role. The film follows Rocky Balboa, an Italian American who works for a loan shark in 1970s Philadelphia. Balboa, a low-profile club fighter, has dreams of becoming a major boxer, and when he’s given a chance to square off against World Heavyweight Champion Apollo Creed (played by legendary character actor Carl Weathers) he trains and prepares as if his life depends on it. In more ways than one, perhaps it does.

    Rocky is fun and easy to watch. From the outset, the rags-to-riches of the film is predictable and easy to follow, but it’s never boring. Stallone, a relative unknown at the time of filming, is oddly captivating as the burling, bumbling leading man, but the film’s supporting cast really ensures that there’s never a dull scene or moment. Talia Shire, Rocky’s love interest, and Mickey Goldmill, Rocky’s trainer, share the screen with Stallone in a fantastic way. The primary characters of the film all bounce off each other brilliantly, and the energy the cast brings to every scene can’t help but propel the film forward.

    There is no secret now and there was no secret in 1976 that Rocky, as well as the entire nine-movie franchise that has since come from, is simple. The films are full of machismo and hyper-masculinity, of acting without thinking and even acting without feeling. The films are sometimes blindingly patriotic and lack nuance. They are spectacles—well-made, well-acted and well-received—but spectacles all the same. It is not a stretch to say that the Rocky films almost feel propagandic.

    If they are nothing else though, they are easy. They are simple. All the problems in Balboa’s life are complex, difficult issues that, in the real world, would require thoughtful and intricate solutions. Poverty, racism, classism, relationships—the film flirts with all these ideas, all these struggles, but it never really focuses on them. It never really suggests a solution. In the world of Rocky, Balboa needs only to keep punching until he hits something. Personal preference will determine whether this is a positive for the film or a drawback.

    For some, the single-mindedness of Rocky and its sequels might feel like a missed opportunity. However, for many, the cut-and-dry story of Rocky will be exactly what draws them to the film. It’s a fantasy, of course , that one can fight their way out of all their problems, but it’s a fantasy that sells—you only need to look at the multi-movie franchise that the film has spawned to see that this is a message that audiences don’t seem to be tiring of. In this way, Rocky is an absolute success. It sells viewers the one thing they want when they go to the movies—easy solutions to complex problems, and a happy ending to boot. M

    December 2016

  • Trailer: Logan (2017)

  • Trailer: Fences (2016)