So many of you have requested this filmic information. They are listed as I have seen them. For reviews check Peneflix archives, everyone’s taste is infused with different flavors; READ reviews before viewing; consider yourself forewarned. I love the twisted, foreign, horror genres along with soapy, platitudinous, sentimental, saccharine fare. BLACK PANTHER OPERATION RED SEA (CHINESE) LOVE, SIMON FOXTROT (ISRAEL) ... Read More »
The title alone seethes with blackish, iconoclastic hilarity; self-deprecating humor of a quadriplegic, destined to navigate the streets bound to a wheelchair; John Callahan’s (1951-2010) life, depicted with Procrustean power by Joaquin Phoenix (his acting acuity knows no parameters); writer/director Gus Van Sant lionizes John’s gravitas with insouciant pulchritude; a man who conquers alcoholism using laconic cartoons as a therapeutic ... Read More »
Poetic license is definitely insinuated when “Ethan Hunt’s” newest mission is delivered disguised in Homer’s “Odyssey”; hence the eponymous Hunt clones the Greek epic hero, “Odysseus/Ulysses”; tested and passed with Olympian magnitude, Odysseus’ travails, within days, instead of years. For the sixth time, inimitable Tom Cruise, exuberantly swash-buckles, aerobically, defiantly flies through the film; at fifty-six, biconically performs his own ... Read More »
Dance. For many millenniums it has celebrated living, pulverizing skeletal rigidity, lending liquidity to motion, in the words of the muse of movement, Isadora Duncan (1878-1927) “dancing is the highest intelligence in the freest body, the luminous manifestation of the soul”; it is universally therapeutic, a combination of the Vedic elements: earth, water, fire, air and the illusive ether, void, ... Read More »
“When a situation or image can be interpreted in two different ways. You have a blindspot to the second interpretation.” Writers/stars of “Blindspotting”, Daveed Diggs, “Collin” and Rafael Casal, “Miles” in a tightly-constructed, taunt three-day episode, prove the validity of this precept. Collin’s probation (initially unsure of what’s earned his incarceration) is nearing its completion; following the stringent rules for ... Read More »
On July 12th, 1961, identical triplets were born and placed in three separate homes; the adoptive parents unaware of the brothers. In 1980 Robert Shafran, on his first day at a community college, is mistaken for Edward Garland, hence commences one of the most karmic connections in history; an electrifying documentary (directed brilliantly by Tim Wardle) that focuses on the ... Read More »
Director Henri-Georges Clouzot (1907-1977) the eminent emperor of French film noir (his American counterpart, Alfred Hitchcock) is rising from the morgue, via digitally enhanced classics; “The Murderer Lives at Number 21”, made in 1942, during German occupation of Paris; black and white, as in the archival photographic process, cements viewers concentration on the characters; scintillatingly diverse, wickedly witty, Clouzot’s prodigious ... Read More »
The eponymous scion of fashion flamboyancy, an heir of the Belle Époque, Cecil Beaton (1904-1980) is a delicious concoction of all that was madly, passionately, aesthetically “gay” during his tenure as the monarch of glamour, style and outlandish individuality; his photographic ingenuity has frozen, for posterity, images of the renown: Queen Elizabeth, Greta Garbo, Marilyn Monroe, Francis Bacon, Lucian Freud ... Read More »
Writer/director Debra Granik (outstanding “Winter’s Bone”, launching Jennifer Lawrence’s meteoric explosion on the screen), in “Leave No Trace” with the immaculate skill of a surgeon, dissects a father/daughter symbiotic relationship; “Will” (Ben Foster) and his thirteen-year-old daughter “Tom” (Thomasin Harcourt McKenzie), living by their wits “off the grid” in a forest, outside of Portland, Oregon; for years they have cauterized, ... Read More »
Powerful. Provocative. Problematic. Boots Riley, in his directorial debut, pushes the boundaries between contemporary consumer culture, science fiction and disparities between black and white perceptions of today’s world. Massively metaphorical (reminiscent of “Get Out”) the film commences with “Cassius Green” (outstanding, Lakeith Stanfield, “Get Out”), financially-strapped, he applies for a position at a telemarketing firm; lusting for success and approval ... Read More »
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