"The Last Showgirl," directed by Gia Coppola, is an intriguing but uneven exploration of fame and disillusionment. At its center is Pamela Anderson, delivering a raw, unexpectedly vulnerable performance that strips away her usual glamor. The film oscillates between poignant moments and clunky narrative choices, but Anderson’s presence is undeniably compelling. One wonders, though, if this newfound depth comes from Anderson’s own talent or Coppola’s ability to coax it out of her. Coppola’s direction has flashes of brilliance, but the…
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The Wild Robot 2024
The visuals are pleasant enough, but there’s no real sense of discovery or transformation for either the robot or the viewer. The whole experience feels stilted, as though it’s been overthought and underfelt. Perhaps it could have soared with a stronger human touch—or at least with the daring to push its ideas further. Instead, we’re left with a film that feels like a missed opportunity, a machine without a soul.
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It's a Wonderful Life 1946
It's A Wonderful Life," often hailed as a timeless holiday classic, is, in reality, a saccharine mess—a cold sore on the mouth of Christmas. Frank Capra's supposed masterpiece aims for sentimentality but lands squarely in the realm of manipulative treacle. James Stewart's George Bailey is portrayed as the everyman hero, yet he comes off more as a martyr to the American Dream's false promises. Donna Reed's Mary is reduced to a two-dimensional prop, her sole purpose to bolster Bailey's overblown sense of self-pity.
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