Black Widow's plot has a rocky start, and never seems to elevate. The star of the show is Florence Pugh as Yelena, her deadpan quips meshing with a tender humanity bursting out. The plot and action pays homage to the Bourne Identity and the Fast & the Furious. There's an earnest attempt at a serious tone, but the film falls back on humor almost like a crutch. Overall, though, I can't complain. The fight choreography was tight, and the CG over the top. In the grand scheme of things, that's why I watch Marvel movies.
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The Assistant 2019
Julia Garner embodies Jane, the assistant. The monotony and Sartre-esque purgatory of office cleaning hell, all too relatable to my internship days, builds a solemn and crushing isolation. When Jane's sense of right empowers her to talk with HR, her soul is sniffed out. There's a real loss of innocence by the end, not overt but a silent shift in Jane's spirit. The ending hinted at her loss, yet also a sense of escape.
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Sound of Metal 2019
This review may contain spoilers. I can handle the truth.
The moment when Ruben, played with utter conviction by the masterful Riz Ahmed, tries his cochlear implant for the first time gripped me in ways that few films have. The director Darius Marder (shout out to the amazing The Place Beyond the Pines) brings truth and intimacy to every scene and shot. Every actor feels like a real person, and there's an ebb and flow to the plot that mirrors reality and growth. The sound design is horrifying and beautiful, a true masterpiece of cinematic form. When Ruben turns off the sound and basks in the silence in the streets of Paris, I was with him.
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The Father 2020
"The Father" loops, twists, and devastates. Anthony Hopkins enraptured me, his brilliant acting both stubborn and childishly vulnerable. The unfolding narrative is more experience than story, the plot design haunting. Olivia Colman, the daughter, is Hopkin's equal. Her eyes shift in pain, evolving through subtle glances and hesitations. Hard to watch, and harder to forget.
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