‘Harriet’ is the classy way to beg for an Oscar

Images courtesy Focus Features.

8/10 Harriet is the platonic ideal of what all Oscarbate movies want to be and is genuine enough to not drive me up a wall.

The film follows the completely true life story of Harriet Tubman (Cynthia Erivo), born Minty Ross, a slave in Southeastern Maryland who escaped to freedom in Philadelphia along the Underground Railroad, then went back 13 more times and brought an estimated 70 more slaves back with her, then, during the Civil War, helped lead the Combahee River Raid, freeing hundreds more. 

Tubman believed she received visions from God that guided her on her journeys, which is speculated have been the result of brain damage from a severe beating she received as a child. Whatever the cause, she was noted by peers for her uncanny ability to avoid danger and became a semi-religious figure, even being known by the moniker “Moses” during her time as an outlaw. 

Continue reading →

Posted in Entropy | Tagged , , | Leave a comment

‘Dark Fate’ just as trashy as all the other ‘Terminator’ sequels, but this time it actually means something

There’s obvious appeal to bringing back Linda Hamilton for this, but she just looks tired the whole time. She hasn’t even been out of acting in the past 30 years either, she’s done some minor stuff, she just seems to have lost her fastball as a performer. Images courtesy Paramount Pictures.

4/10 Terminator: Dark Fate is the third Terminator movie in the past 10 years that was seen by the studio as part one of a new Terminator trilogy, only to crash and burn critically and commercially. They’ve literally made a trilogy of failed trilogy starters.

It is the second direct sequel to the beloved Terminator 2: Judgment Day, with advertising focusing on series creator James Cameron’s returning involvement for the first time since that 1991 film and more or less angling itself as an apology for the unpopular installments that have come between.

And it’s the first follow-up that feels like it has even a little bit of merit for longtime followers of the franchise.

Continue reading →

Posted in Entropy | Tagged , , , , , , , , , , | 1 Comment

Stop what you’re doing, don’t even finish this review, and go see ‘Parasite’

Images courtesy Neon.

10/10 2019 Palm d’Or winner Parasite screams into American theaters as a decent choice for film of the decade. Advertising has been meticulously kept free of plot details, to the point that even the premise is a bit of a spoiler. As such, this entire review should be considered a spoiler, and this is one of the rare films that really benefits from a viewer going in completely blind, so if you haven’t seen it, please stop reading. Do not rob yourself of the full pulse-pounding, gut-busting experience of this film. 

Spoilers below.

Continue reading →

Posted in Entropy | Tagged , , , , , , , , , , , | Leave a comment

‘The Lighthouse’ is definitely a movie

Images courtesy A24.

9/10 A few weeks after Joker brought the “we live in a society” meme to incredibly vivid life, Robert Eggers and A24 one-upped it by bringing the mad munchkin viral video to theaters in The Lighthouse, which sees Robert Pattinson at one point scream, “You’re not God or my boss or my father!”

In The Lighthouse, two lighthouse keepers (Willem Dafoe and Pattinson) set up on a remote island off the coast of New England for a four-week assignment. The elder keeper spends the entire night shift with the glorious holy light at the top of the tower and leaves all the hard day labor to his apprentice, who quickly loses his mind. 

Continue reading →

Posted in Entropy | Tagged , , , , , , , , | Leave a comment

‘Current War’ electrifying, a systemically perfect film

“A city of light. I have built it already in my imagination, and it is perfect.” Images courtesy 101 Studios.

10/10 The Current War was the last film Harvey Weinstein worked on, and consequently took a bit of a serpentine path to theaters. Weinstein, who is listed as a producer but not credited, had reportedly re-edited the movie despite producer Martin Scorsese having final cut privileges, and that’s the cut that was screened at the 2017 Toronto Film Festival — a month before the Weinstein scandal took off that October. Director Alfonso Gomez-Rejon got Scorsese to pull the film outright, did some reshoots and shaved 10 minutes off the cut, and what’s finally been released two years later is called “The Director’s Cut” to distinguish it for the small handful of people who know that story.

It’s a long and winding journey, unlikely to yield anything that makes it to the big screen, let alone this dazzling lightning bolt of cinema. 

Continue reading →

Posted in Entropy | Tagged , , , , , , , , , , | Leave a comment