By now in February 2020, Bong Joon Ho’s Parasite is one of the most lauded films of the 21st century. It won the coveted Palme D’Or prize at the 2019 Cannes Film Festival. It’s also one of the rare foreign-language films (it’s Korean) to receive an Academy Award Best Picture. With all of that acclaim, you’d think that Parasite would be a stunning masterpiece.
The most striking aspect of Sam Mendes’ new World War I movie, 1917, is the backgrounds. Rare as it is for the backgrounds to shine brighter than the actors and foregrounds in movies, Mendes has achieved it; I believe that was his goal.
Ford v. Ferrari promises a showdown between car companies. It is, partly, and it fulfills the promise of its title in spectacular fashion, with one of the most spectacular racing scenes I’ve ever seen at the movies. But, it’s really a movie concerned with the ideals that those car companies represent.
In his excellent essay about why people ought to read old books, C.S. Lewis recommends that all readers should read them as much as they do contemporary ones.1 He writes, “It is a good rule, …
This John Wick movie, the third “chapter” in a series that could go on indefinitely, is no different texture-wise than its predecessors. Whatever you thought of John Wick 1 or John Wick 2, you will probably think the same of this movie.
I prefer to see this movie as offering an order; in other words, the sequence of the six stories matters. The six stories seem to move, one to the next, from juvenility to wisdom. A youngster might view art and death in the flippant way that the first story, “The Ballad of Buster Scruggs,” offers.