“Little Mom” ​​is an almost perfect artifact

TOP CHOICE OF THE WEEK

Little mom

**** While cleaning out her recently deceased grandmother’s hallway cupboard, 8-year-old Nelly (Joséphine Sanz) discovers a forgotten padel game. His father is busy; her grieving mother is suddenly absent. Paddleball is a suitable solo activity, but after three strokes the ball flies off the string and into the woods. This may be the mechanism by which Little mom depart for the realm of magical realism, or maybe it’s just a superb symbol. But immediately, Nelly encounters a girl of nearly identical age and appearance (played by Sanz’s real-life twin, Gabrielle) who is building a fort in the trees nearby. After the visual and emotional grandeur of Portrait of a lady on firethe French author Céline Sciamma distills Little mom in 72 minutes of cracking leaves and sharing dreams between two serious children who are trying to figure out what their parents can’t explain about loss and loneliness. The performances of Sanz’s two daughters are candid and vigilant, not averse to the occasional cheer, and never so precocious that Sciamma turns them into script puppets. It’s childhood as we wish it were during a crisis – and a quietly fantastical tale that punches megatons above its weight. Little mom is itself an almost perfect little artifact, a closed loop containing multitudes. Beat that ball once and feel everything boomerang back. PG. CHANCE SOLEM-PFEIFER. The living room.

ALSO PLAYING:

The unbearable weight of massive talent

**** Nicolas Cage is a rare acting legend whose filmography has grown into a fluid library of cult classic genres. It’s a unique cinematic achievement that spans generations – and that’s what makes The unbearable weight of massive talent work. In the film, Cage plays such a meta version of himself that it becomes difficult to determine what is satire and what is autobiography. Here, “Nick Cage” is in a career slump, plagued by financial troubles and rumors about his eccentric spending habits (in one scene, he offers to pay $20,000 for a statue of himself wielding a gun inspired by john woo Front/Off). This forces him to accept a humiliating gig from wealthy superfan Javi (Pedro Pascal): to appear as a guest at his birthday party for $1 million. The action kicks off when the CIA recruits the actor to spy on his host, channel his inner “Cage” and complete a mission. This results in a fun bromance with Javi based on their shared love of filmmaking (the true heart of the movie). Moments of absurdity happen rarely enough to lift the comedic tone without defining it – and co-writer and director Tom Gormican knows his audience, giving viewers what they want without caring what others think. It’s an attitude any Nicolas Cage fan can relate to and happily revel in. R RAY GILL JR. Downtown, Clackamas, Evergreen Parkway, Fox Tower, Laurelhurst, Living Room, Lloyd Center, Mill Plain, Oak Grove, Pioneer Place, Progress Ridge, Studio One, St. Johns Twin, Tigard, Vancouver Plaza.

Ambulance

***Michael Bay’s Ambulance is stupid beyond belief, but it’s also thrilling, terrifying and impressively brutal. Jake Gyllenhaal stars as Danny, a career criminal who enlists his adoptive brother Will (Yahya Abdul-Mateen II) to help him steal $32 million from a Los Angeles bank in broad daylight. It’s an insulting and unlikely setup – even if Will needs the money for his wife’s “experimental surgery”, why would he go along with Danny’s delusional plan in minutes? But once they steal an ambulance to escape the army of police on their trail, the film gets into a choppy pace. By trapping a bleeding cop (Jackson White) and a hardened EMT named Cam (Eiza González) in the ambulance with the brothers, Bay creates countless possibilities for triumphant tension. When Cam has to use a hair clip to perform surgery, your heart skips a beat – and when the snipers prepare to fire shots that could kill everyone in the ambulance, it stops. almost. Hyper-editing and swooping camera movements make the action too frenetically blurry, but there’s no denying Bay’s control over the exhilarating currents of fear that run through your mind and body as you watch. Based on a 2005 Danish film, Ambulance hits its share of false notes, but unlike most modern action films, it understands the difference between bombast and suspense. R BENNETT CAMPBELL FERGUSON. Bridgeport, Cascade, City Center, Clackamas, Division, Fox Tower, Movies on TV, Progress Ridge, Tigard, Vancouver Plaza.

Everything Everywhere All at once

*** A sci-fi/martial arts (kung fusion?) hyperkinetic fever dream grounded in Asian American family dynamics, Everything everywhere all at once will be absolutely adored by some moviegoers from its first moments. It’s a movie made to be loved and, given the jaw-dropping technical magic at play throughout, nearly impossible to hate. Michelle Yeoh is usually dazzling as Evelyn Wong, a misanthropic laundromat owner called upon to save the multiverse from her daughter’s worst self (Stephanie Hsu, in a role intended for Awkwafina). Evelyn is an underwritten character, but Yeoh brings a welcome authenticity to the film, even if a performance of such finely nuanced nuance isn’t the best fit for the DayGlo sensationalism of Daniel Kwan and Daniel Scheinert, the filmmaking duo known as the name of Daniels (Swiss army man). As with Terry Gilliam, Edgar Wright or any other avant-garde sentimentalist pressing restless rhythms and visual inventiveness in the service of a totally unworthy story, the directors effortlessly energize the slow parts and the paper on the holes of the plot, but when the pacing calms down and the fireworks go down for an emotional climax, the film moves chillingly. Inevitable? Maybe, but it’s still disappointing Everything everywhere all at once is less than the sum of its dazzling parts. R JAY HORTON. Academy, Cinema 21, City Center, Clackamas, Evergreen Parkway, Fox Tower, Joy Cinema, Lake Theatre, Laurelhurst, Living Room, Lloyd Center, Studio One, St. Johns Twin, Tigard, Vancouver Plaza.

Fantastic Beasts: Dumbledore’s Secrets

*** When it was announced that JK Rowling was releasing five films based on a fake textbook she put together for charity, Harry Potter fans immediately knew two things about the release. fantastic beasts pentalogy: An epic saga drawn from a fanciful taxonomy was a terrible idea, and it didn’t matter. Despite the irrelevance of the concept, the surviving IP held enough power to spawn a third adventure for cryptozoologist Newt Scamander (Eddie Redmayne), despite the recasting of big bad Johnny Depp, Rowling’s transphobic rants and the change of tone. from the Dr. Dolittle-esque period travelogue of previous entries to a secret agent thread about a failed deal between Arch-Mages. While Grindelwald stand-in Mads Mikkelsen lacks Depp’s cartoonish self-esteem – which provided a romantic counterbalance to Jude Law’s Dumbledore incandescence – his Hannibal/Bond villain brand of comically erased cruelty brings gravity. necessary for a story that moves through a Disney-fied Weimar Berlin with bounce and verve. It also helps that the screenplay (by Rowling and Steve Kloves) expertly seeds the voluminous exposition with fan-service nods, but barely requires prior knowledge from the titular future director. Yes, it’s still the Potterverse, but for the movie’s eternal blessing, that’s not always necessary. PG-13. JAY HORTON. Bridgeport, City Center, Clackamas, Evergreen Parkway, Fox Tower, Living Room, Lloyd Center, Mill Plain, Pioneer Place, Progress Ridge, Studio One, Tigard, Wunderland Milwaukie.

The man from the north

** If you like your men handsome, violent and full of self-pity, you’ll love it The Nordic, a new interpretation of the Scandinavian legend that inspired Hamlet. It’s a satisfyingly brutal mystical epic directed by Robert Eggers (The Lighthouse, The Witch) and starring Alexander Skarsgård as Amleth, a comically obsessive Viking prince. When Amleth was a boy, his father, King Aurvandil War-Raven (Ethan Hawke), was murdered by his uncle, Fjölnir (Claes Bang), who later married Amleth’s mother, Queen Gudrún (Nicole Kidman) . By the time Amleth is old enough to seek revenge, Fjölnir has lost the kingdom to a rival ruler and become a farmer, which is one of the film’s many twisted jokes – Fjölnir can never fall far enough to sate the fury of Amleth. While Amleth’s macho theatrics might have been intolerable, it is undermined by the film’s particular humor. There’s a charming self-amusingness behind the actors’ exaggerated Scandinavian accents – they know they’re in a bonkers movie and they love it. Many audiences probably will be too, but with the exception of Queen Gudrún who pokes fun at her son with a beautifully mad cackle, Eggers is a director of split loyalties – he berates toxic masculinity while reveling in it. Hypocrisy is by no means fatal, but despite a glorious duel climaxing on a lava-flooded volcano, The man from the north leaves a weary familiarity in its wake. Criticize men like Amleth and Fjölnir? Good. Leave them behind? Better. R BENNETT CAMPBELL FERGUSON. Academy, Cinemagic, Cinema 21, City Center, Clackamas, Evergreen Parkway, Fox Tower, Laurelhurst, Living Room, Lloyd Center, Mill Plain, Oak Grove, Studio One, Tigard, Vancouver Plaza.

The villains

** In its early days as a major studio, DreamWorks Animation was often accused of trying to emulate the output of its main competitor, the House of Mouse. shark story been “The world of Nemo with gangsters. Antz was “A Bug’s Life with Woody Allen” (although it came out first). shrek was “any Disney princess movie with Jeffrey Katzenberg’s unreserved bitterness at being ousted from society”. Now 2022 brings us The villainsa.k.a “zootopia but not as good. It’s a shame, because some parts of the movie really work. The animation offers a nice mix of sketchbook textures and 3D models, and the voice actors are up for anything, especially Sam Rockwell and Zazie Beetz (who trade the winning repartee as a pickpocket named Mr. Wolf and a red fox politician named Governor Foxington, respectively). However, the story is paper-thin and flimsy – especially during a third act that takes an unexpected detour from heist movie to sci-fi – and the gags rely heavily on crude jokes, a broad slapstick and the occasional pop culture reference out of nowhere. The villains isn’t terrible or offensive, but it’s well below the standards DreamWorks has set for itself. PG. MORGAN SHAUNET. AMC Vancouver, Bridgeport, City Center, Clackamas, Division, Evergreen Parkway, Lloyd Center, Mill Plain, Oak Grove, Pioneer Place, Progress Ridge, Studio One, Tigard, Vancouver Plaza, Wunderland Beaverton.


Source link

Comments are closed.