Adaptation leaps into 21st century, doesn’t bring ‘Addams Family’ with it

The character designs are tightly grounded in the original comics. Images courtesy United Artists Releasing.

3/10 I didn’t really know how I felt about The Addams Family as a property going into last weekend. The Barry Sonnenfeld movies straddle my birth in 1992, causing them to have a massive cultural influence on me despite my having never sat down and watched them until the runup to this new movie. One of the first special effects exhibits I ever saw was on these movies.

I started preparing for this new Addams Family with the firm belief that these characters should never be animated, ignorant of the fact they began as comic strips back in 1938 and this new animated movie is meant to be designed around those comics. This property is definitely ripe for revisitation, and it could have been really cool – Christina Ricci, who played Wednesday Addams in the Sonnenfeld films, is 39, a year younger than Angelica Huston was when she played her mother, Morticia – and I guess I can’t object to it being a cartoon.

I do object to this particular cartoon, however.

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Unfortunately, we live in a society

Images courtesy Warner Bros. Pictures.

5/10 Joker has been the talk of film media pretty much constantly since its Venice Film Festival debut Aug. 31 where it earned an eight-minute ovation and the Golden Lion. Between critical adulation and emerging worry that the film’s release would be marred by a mass shooting, the question on everyone’s lips was, is Joker a masterpiece or an irresponsible call to violence?

It’s both. It is extremely both.

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‘Judy’ is everything you’ve come to hate about Oscarbate

Images courtesy LD Entertainment.

2/10 The highest praise you could give Judy that it’s a comprehensive rundown in the poorest, most predictable instincts that go into making this kind of movie and a master class in what not to do.

The film recalls the last months in the life of Judy Garland (Renée Zellweger and Darci Shaw) when she headlined at Talk of the Town in London. Judy focuses on her as a hollow, drugged-out wreck of an old showgirl who can’t finish her sets, but can still belt out one or two performances of the ages per night. The film ends just a few months before her death. It also flashes back to her youth when she was first hooked on pills by her own mother to make her work long hours and routinely denied food among other horrifying abuses, but not often enough to bum anybody out. Continue reading

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‘Ad Astra’ is the terrible, majestic, urgent space opera for our time

Images courtesy — oh no, you maniacs, oh god damn it all! Images courtesy Walt Disney Motion Picture Studios.

10/10 In space, no one can hear you scream. No one can hear you do or say anything at all, in fact. That’s because in space, there’s usually no one else there.

In the near future, the United States Space Command has established permanent bases on the moon and Mars, and commercial lunar travel is just another trip to the airport. As technology marches ever further into the heavens even while our ecology continues to collapse around us, humanity has grown desperate in its search for extraterrestrial life –for any shred of evidence to break the Fermi Paradox, proof that we aren’t already doomed, an example of some civilization that has solved our current problems. USSC sends a space station, a highly classified mission called the Lima Project helmed by Cliff McBride (Tommy Lee Jones), into orbit around Neptune, the furthest manned mission in history, to conduct anti-matter experiments that may finally connect us with intelligent life.

I’ve always thought the belief in alien life and the belief in God came from the same human instinct. They manifest very differently in different kinds of people – belief in extraterrestrial life, or even the notion of it, would be explicitly antithetical to early Christian teachings, for an extreme example – but they both stem from the notion that human life being unique, that we might have this entire universe to ourselves, would be too terrifying to bear. The real horror is that, even as we study the stars and ancient texts and send radio waves and prayers into the sky in the hopes that someone, anyone, is listening, we might be completely alone.

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‘Goldfinch’ bums viewers, bombs at box office

Images courtesy Warner Bros.

4/10 With It: Chapter 2 lined up to spend at least two weeks at no. 1 months in advance, the Sept. 13 release slot looked like prime real estate for niche faire and a smaller-scale movie to get a head start on Oscar season.

After premiering at the Toronto International Film Festival to two very different receptions, girls’ night out movie Hustlers has gotten a head start on that race because it’s genuinely that good, while The Goldfinch, which was expected to serve as the starting pistol, was met with one of the worst openings of all time.

In The Goldfinch, 13-year-old Theo Decker (Oakes Fegley and Ansel Elgort) stands as one of the only survivors of a random and quickly forgotten bombing of the Metropolitan Museum of Art. His mother dies in the blast. In the immediate aftermath, Decker steals a 1654 painting called “The Goldfinch,” which becomes his symbol of hope through a tumultuous life.

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