Sofia Coppola's film is visually gorgeous. As the MMA league throws tens of millions of dollars at setting up a fight between the reigning world champion and his extremely inexperienced teenage son, Embattled becomes something akin to a revenge fantasy. Signing up enhances your TCE experience with the ability to save items to your personal reading list, and access the interactive map. Following in the footsteps of Letitia Wright’s Shuri, Black Panther’s superhero teen tech innovator, Journey, in all her unmitigated engineering brilliance, ought to serve as a hero for any kid who dreams of building robots, solving theorems, or inventing something brand new of their own. Criterion got involved at first through our producer [Martin Rosen]. Cast: Jackie Chan, Yang Yang, Ai Lun, Mu Qimiya, Xu Ruohan, Jackson Lou, Eyad Hourani, Zhu Zhengting, Yang Jianping, Zhou Bin, Wang Yanlong, Roy Wong Director: Stanley Tong Screenwriter: Stanley Tong Distributor: Gravitas Ventures Running Time: 108 min Rating: NR Year: 2020. The film was successful in portraying that Louis and Marie Antoinette were to young to reign, however that was done so with no plot, and no purpose. In those moments, I had the feeling of seeing Lux Lisbon from The Virgin Suicides (also played by Kristen Dunst...) evolving in a sort of timeless parallel world. Marie Antoinette was 14 when she was whisked from Vienna to Versailles to marry the 15-year-old dauphin Louis, who takes seven years to consummate their marriage - he's portrayed by Coppola's cousin Jason Schwartzman as a shy, almost catatonic nerd. With its uplifting images of Thunberg standing in front of both crowds of protestors and global leaders, one gets the sense that I Am Greta aims to be inspirational, but in terms of creating hope for action on climate change, it mainly provokes frustration—the very feeling that brings Thunberg to tears in front of the U.N. General Assembly. It plays like Sex and the City in Versailles, without the sex. For one, it’s difficult to maintain that the arguably dicey politics of Rumble in the Bronx really undermine the pleasures of watching its deft acrobatics, precise camerawork, and fluid editing. Will Gustafson and the evil Don Juan Diego doll (voiced by Ricky Martin) succeed in stealing Jangle’s ideas? A scene set in Fareeda’s high-tech wicker treehouse, which dangles from an acacia tree like a bramble, sees the enlightened colonizer explaining to Lei that birds-of-paradise were almost hunted to extinction by 19th-century colonizers. And uncovering it is like opening a Pandora’s box, finding another box inside, and another one after that, each filled with a stranger-than-fiction plot twist and each more rotten than the other. Tang dispatches Vanguard agents and best buds Lei (Yang Yang) and Kaixuan (Ai Lun) to rescue Qin, resulting in an international pursuit that brings the heroes from London to some of the typical places visited in neo-colonial blockbusters: Dubai, anonymous dusty villages in the Middle East, and, of course, “Africa,” a location that Tong and co-writer, Tiffany Alycia Tong, feel no need to label more specifically. From a technical perspective, large chunks of this sci-fi martial arts film don’t quite hold together. By expanding Joyce Carol Oates’s short story “Where Are You Going, Where Have You Been,” Chopra and screenwriter Tom Cole grant refreshing dimensionality to Connie’s antagonists—both her conservative mother, Katherine (Mary Kay Place), and an alluring but menacing suitor, Arnold Friend (Treat Williams). What public high school has ethic courses? I can’t honestly tell you more than that about it. I had heard and read so much about this film that my expectations were probably too high. And most are made by men. However, when Mary and Charlotte are finally able to give in to their mutual attraction, the film’s oppressive pictorialism does start to make a bit more sense in hindsight, revealing itself partly to be a strategy to make us feel as restricted and trapped as the characters. A few weeks ago, a friend texted me to say go to the New Yorker website. At Smooth Talk’s NYFF Live talk, Laura Dern mentioned that people take different messages out of it. And while I love Jason Schwartzman in wacky indie movies like Rushmore and I heart Huckabees I just didn't feel like he had the acting chops required to pull off this pretty serious role. Were you at all conscious when making the film about how it was going to be in conversation with other films that portrayed adolescent sexuality that played into rape culture with their aggressive male characters? It’s the compulsion to make Anning stand in for something broader than herself that keeps tripping up Ammonite, though this is a problem endemic to most biopics, and was maybe even more inevitable here. All of which makes it difficult to see what point Coppola's making. We get, for example, extended footage of Thunberg’s much-publicized meeting with Emmanuel Macron. It was just a dream to do that. It was the only film I’ve ever made where I didn’t have producers nipping at me. Logothetis uses longer-than-usual takes for several early action scenes, but the results are deeply unflattering to the film’s stuntmen since most of the characters’ blows look weak and unconvincing, while mediocre sound design and overuse of slow-motion only highlight the issue rather than disguise it. And this character, Arnold Friend that Joyce Carol Oates created [sighs]…there are a lot of lunatics around. anyone with any former knowledge of the story should not see this if they value history at all. By film’s end, Peter has even surrendered wholly to a fantasy world that severs his relationship with his family, his moral compass, and objective reality. I Did! The greatest gift offered by the film is an empowering world that looks less like invention and more like real life. Her answer is implied later, when she bows to the barbarians outside her gate. While Ron Howard’s adaptation showcases those same societal ills, it takes a more personal and less sociological approach. I couldn't understand what Coppola was trying to say about Antoinette showing what felt like a hundred scenes of her trying on shoes, wigs, and frolicking in the grass. Kirsten Dunst never fails to fail. There’s intrinsic value to this individualized approach. Coppola herself is a rebel against Hollywood convention. Predictably, there were some boos when the film was launched in Cannes last May. I've just seen Marie-Antoinette at a sneak preview in Amsterdam. And while I know it was done intentionally, it still does not negate the fact that it makes for a less then captivating drama. We see Marie Antoinette at the beginning trying to fit in with the strict life at Versailles but further on it's clear that with the gossip following her she stops caring and starts to have fun her own way which leads to her ruin. (The hairdresser who dolls up Kirsten Dunst as Marie Antoinette is a fairy and is played for laughs.) Headquartered in London and overseen by Tang Huating (Jackie Chan), Vanguard becomes engaged in protecting the family of wealthy Chinese businessman Qin Guoli (Jackson Lou) when the English authorities are too tied down by a Chinese New Year parade to intervene. The slow progression of the film never bores; it reveals in time. Movies about renegade women tend to fit into tidy genres, from so-called "chick flicks" (In Her Shoes) to heroic dramas of saints and martyrs (Million Dollar Baby). The French president’s fluffy, patronizing questions show just how seriously he takes the Swedish teen, but Thunberg doesn’t come off particularly well in such footage either, speaking in broad generalities—at least in the footage Grossman includes. That would be like making a film of Abraham Lincon but just leaving out the Civil War. Even though Logothetis succeeds at very little of what he’s experimenting with—he even botches a recreation of the Arnold Schwarzenegger/Carl Weathers handshake from Predator—it isn’t totally boring to see him try. The only difference here are the costumes and the fact that not all the women in this movie are as young. Premiering Marie Antoinette in Cannes was asking for trouble. Do you think it’s a success that people can have such polar opposite opinions about it? These must have been students at the nearby parochial high school. Smooth Talk depicts the joys of self-discovery, sure, but it’s also uncommonly attuned to the accompanying pains and dangers. It registers: “I am here.” Remarkably, Coppola doesn’t ask us to take Marie Antoinette as she thinks she was, but as she probably was: a little girl who didn’t know better. Ammonite’s class dynamic is established early on, as close attention is paid to the details of Mary’s manual labor, and we see her stubbornly refuse to accept money from a wealthier acquaintance, Elizabeth Philpot (Fiona Shaw), with whom she appears to have some kind of fraught emotional history. And that's exactly what Marie Antoinette offers its audience. Our discussion covered how she and Cole built upon Oates’ slender source text, the joys of rediscovery and reappraisal, and why she doubts John Hughes could believe in the universes he created on screen. The hallmarks of post-9/11 action cinema are all accounted for here, from the sentimentalized militarism of the Marvel Cinematic Universe, to the thoroughly privatized espionage of the Mission: Impossible series, to the weightless, CG-suffused action of a Fast & Furious yarn. The combination of rock music and the rituals of Versaille never "shocks" thanks to the mastery of the direction. Like many of Tong and Chan’s earlier collaborations, Vanguard’s end credits are accompanied by behind-the-scenes footage of stunt performances, to emphasize the death-defying labor of the filmmakers. They thought the scene wasn’t real. That was the most extreme form of it. Standing in stark contrast to the dull symbolism that dominates elsewhere, the film’s surprisingly graphic sex scenes are profoundly effective at conveying the feelings of intimacy and liberation that the women are briefly able to experience, in a world that has no proper place for them. It’s very pleasant. There are multiple close ups of lavish plates of exquisitely prepared and presented food. Trying to learn about what happened to the French court from this film is like trying to learn about American corporate culture by watching J.R Ewing's 30 second business deals at the Cattlemen's Club on Dallas. That he’s seemingly kinder to his second wife, Jade (Karrueche Tran), and taken a recent interest in his older son Jett’s (Darren Mann) nascent MMA career initially suggests that he may be turning over a new leaf. For his part, Dorff nails the verbal bravado and many of the physical tics of his real-life counterpart, but unfettered machismo is pretty much Cash’s sole defining trait in Nick Sarkisov’s Embattled, which fails to sufficiently interrogate the character’s inner turmoil or explore the circumstances that led him to become the bitter, enraged man that we see on screen. The New York Film Festival is how I first encountered the film, which I found surprising because I’d just done a lot of research on the teen genre in the ‘80s this summer and Smooth Talk barely came up in my reading. Oops! This is a biography of Marie Antoinette...even though not a completely serious or historically accurate one...but if Sofia Coppola is trying to show this French queens personality and human side then I can assure you there was more to her than the frilly lace, the satin shoe, the bakery department and the champagne. As the tale of a poor little rich girl martyred by her own celebrity, Marie Antoinette sounds a clear contemporary chord. I Am Greta shows that her unlikely transformation into the de facto leader of a millions-strong movement possesses the heroic, poetic irony that the condition that can make social life a struggle for her also forms a part of her personality that makes her uncompromising drive, and thus her rise, possible. In terms of the music choice, having an 80's soundtrack for an 18th century period piece was not a wise decision. Having witnessed the greatness (the true and amazing GREATNESS) of Sophia Coppola's directorial debut (Lost in Translation), I felt near giddiness when finally sitting down to watch her sophomore project. Perhaps the most shocking moment in the film is a cut to Frank Grillo’s Harrigan finally, though still vaguely, reacting to something Wylie says after long stretches where the hermit might as well be Jake’s imaginary friend. | As laden with meaning as the fossils in Mary’s seafront shop and home in Dorset, Ammonite’s imagery is often just as lifeless; though technically impressive, it rarely illuminates much that isn’t already obvious about the characters or narrative. I figured to use the theater as my personal screening-room on a Friday at noon. It's the 18th century, Jim, but not as we know it. Come Away, a film that is part Peter Pan and Alice in Wonderland origin story, and part British family drama, often seems similarly caught up in its own cleverness at the expense of its far more convincing heart. Pure beauty! “All eyes will be on you.” It’s a warning Marie Antoinette’s mind doesn’t fathom because she is, after all, only a child when she’s forced to leave friends, a cute little pug, and all of Austria behind to enter the court of Louis XV. Cast: Stephen Dorff, Elizabeth Reaser, Darren Mann, Donald Faison, Said Taghmaoui, Karrueche Tran, Drew Starkey, Ava Capri Director: Nick Sarkisov Screenwriter: David McKenna Distributor: IFC Films Running Time: 117 min Rating: R Year: 2020. Having left Ohio, Vance (Gabriel Basso) is attending Yale Law School, where his service in the Marines and professed “hillbilly” pride make him an outlier. Based on the recent Marie-Antoinette biography by Antonia Fraser, Sofia Coppola's film focuses on the personal qualities of the character of Marie-Antoinette and thus participates in the character's historical rehabilitation. It plays like Sex and the City in Versailles, without the sex. I plead guilty to holding Coppola’s soundtrack against the film, sight unseen, but now I’ve seen the light and it’s as lucid as the rising sun Marie Antoinette takes in after a long birthday celebration, on a dawn that is noisy with the sound of friendly chatter and the clink of champagne glasses. This young girl will need molding, and implicit in her cold reception is the difficultly of her pilgrim’s progress toward queenhood—a tragic funeral procession into a gilded confine where Marie Antoinette will be fashioned into something she’s decidedly not and where her every movement will be so closely monitored that the clothes on her back will become not unlike mood rings, absorbing and representing the colors of the demoiselle’s traumatized essence. If you've enjoyed her other movies (THE VIRGIN SUICIDES & LOST IN TRANSLATION), then you are sure to enjoy this film. They seemed a perfect audience for a film on Marie Antoinette. No arrest, no explanation of her treason. Does empathy explain why Sofia Coppola took the story of Marie Antoinette as the follow-up to her greatly successful Lost in Translation? Different universes completely. Visually, however, the film is stunning. Marie Antoinette is the ultimate shopping movie. The film appropriates what seems like every trope of the globetrotting American blockbuster to Chinese-nationalist ends; it could almost be considered a pastiche if it weren’t so sincere. If we’ve done our job right, it shouldn’t leap out at you. As my brother pointed out, the movie also blew the subject of a potentially great movie, which is Marie Antoinette's inspired, sometimes brilliant defense of herself at her later trial. I'm old and worse yet, a male. But in a world of film (and film criticism) that is so male-dominated, this champagne cocktail of girlish delirium comes as a tonic. Despite her mother’s death, Marie Antoinette’s character seems herself and at ease after the birth of her daughter, Marie Thérèse. People are just much more open to it. Howard uses Vance’s return to Ohio to highlight the crux of his dilemma: While proud of having escaped from his impoverished roots and not wanting to get drawn back into his family’s troubles, he’s a fish out of water with the coastal elites and cannot quite escape the pull of home. Johnson, B., Film Review: Marie Antoinette (2013). The subject is still the same: How do you work and be a parent? There’s the time capsule element of mall culture that’s very specific to the time that you made it. A new restoration of Smooth Talk debuted at this year’s New York Film Festival on its way to virtual cinema engagements and, presumptively, a Criterion Collection physical release. It’s a connection that the writers evidently welcome, since they give Kaixuan’s small son an obsession with an action figure called “Captain China,” who, the child informs everyone, is much stronger than Captain America—and resembles his father. That makes these women seem way less tough and intelligent than they actually were in the bloody contact sport of French court politics. In fact, it's difficult not to see the director herself mirrored in her central character as it was in Lost in Translation – the spoiled Hollywood royalty reaping the benefit of her connections to stuff herself (and her film) with profligate confectionery. They showed it at a virtual festival where you could rent it, but they also showed it at a drive-in cinema in Brooklyn. But in positioning this fight as something of a hurdle that Jett needs to clear in order to put his troubled past behind him, Embattled commits a more egregious misstep, muddying its sense of moral righteousness by suggesting that violence and vengeance can only be defeated by more of the same. Dozens more die soon after, many of them not because of the severity of their burns, but from bacterial infections contracted while in intensive care—and this after the Romanian government assured the victims that they would receive the same medical care that they would receive in Germany. She commands the set almost with a whisper, which travels quite loudly in Versailles.". Usually you watch the piece from afar, thinking, "Wow, life sure was hard back then," but you never really can relate to the characters, but Coppola breaks tradition in a completely refreshing way, so that you can really understand these characters. No, better than that: it's luscious. Marie Antoinette is the film equivalent of one of those expensive fashion magazines that pepper indie art galleries – packed with achingly hip aesthetics but free of meaningful content. When she explains to Charlotte her reluctance to commit herself to another person, comparing her situation to a fossil being collected and placed under glass, Mary starts to come across as a little too self-aware, appearing far removed from either historical veracity or emotional truth. Film Marie Antoinette (2006) merupakan salah satu film bergenre Drama, History yang di sutradarai oleh sutradara kondang papan atas Sofia Coppola, dan tidak ketinggalan juga , film ini dijamin bertabur Deretan bintang film papan atas akan memukau Anda saat nonton film Marie Antoinette (2006). It’s so different from those films, my god. We did it for a program on public television called American Playhouse that lasted all through the ‘90s. Jingle Jangle’s pseudo-Victorian world depicts a diverse community in which race itself is never mentioned, but all the entrepreneurs, all the storytellers, and all the heroes are black. While there’s an elemental charge to the power of some of these scenes—Adams is commendably unafraid of being unlikeable, even with the script’s need to give Bev somewhat unrealistic-feeling moments of redemption—too much of it feels familiar and untethered from the source material. Heck no it doesn't! They’d probably never even heard of it. 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In the early-film mission to this nondescript Africa, populated by more computer-animated fauna than a Disney remake, we meet Fareeda (Xu Ruohan), Qin’s daughter and an idealistic nature conservationist. Wigs, footmen and finery are more often than not filmed to the strains of 80s pop and punk and a pair of Converse shoes even sneaks onto the screen (though viewers will have to be sharp-eyed to spot them). In Collective, Alexander Nanau trails investigative reporters exposing the astonishing offshore fraud scheme involving hospital disinfectants which led to dozens of avoidable deaths in the wake of the fire. It was like a slow starting novel, where you read 30 pages and it's not quite entranced you yet, and you know that just around the corner your patience will pay off. Except for a bucolic opening scene featuring Vance’s extended family back in Kentucky, with the implication being that their clannish behavior was firmly rooted in that place and caused them to be maladapted to life elsewhere, Hillbilly Elegy ignores most of what he had to say about the poor life choices made by so many people in his community. Instead we are left with a tedious and frivolous ride...a disappointing combination considering the wealth of talent involved in the production. i know some people have said that it is entirely eye candy (and what amazing eye candy at that) but it actually does an artful adaptation of the book, which i read before seeing the film. Here the eye candy is the substance (in the same way that fashion can be art), while the history serves as window dressing - a revolution raging somewhere beyond the balcony. I still treasure, in a way, a review in The Village Voice by B. Ruby Rich, who excoriated me for promoting that I was saying, “girls, don’t venture out!” [She thought] I was moralizing, I was a throwback to a dark age. But here the grandeur and wonder stops. Director: Alexander Nanau Distributor: Magnolia Pictures Running Time: 109 min Rating: NR Year: 2019. For her, plot seems less important than character, which is less important than mood. Peter (Jordan A. Nash) and Alice (Keira Chansa) are not—or, at least, not yet—the Peter and Alice you expect them to be. Yeah, it was a problem, and some people have pointed out that it’s two stories. Luckily, director Brenda Chapman has chosen a totally captivating pair of kids to carry the playful, scrappy heart of the film, while providing a series of opulent landscapes ripe for scampering. What kind of world did Connie live in? Somehow, even that stopped, and I don’t know why some people couldn’t find it except by buying a DVD. Collective inhabits that cinematic sweet spot where the national specificity of a film’s subject matter gives palpable rendition to a rather universal logic. She also reviewed Joyce at 34 and said that I shouldn’t have been allowed to make the film because, clearly, I was able to afford a nice apartment. Twenty-seven people are killed right away and 180 are injured. The last shot of the film is telling: A beautiful, bejeweled bird, this girl will be ripped out of her cage, leaving only feathers and loads of crap behind. i understand that making a film requires creativity and that some artistic license can be taken, but in this instance it went too far. It’s jarring to see a film from the ‘80s that adequately recognizes the thin line between male seduction and coercion. You might argue that it isn’t worth treating the film’s implied politics any more seriously than those of the other films Tong and Chan have made.
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