![]() The softer side of Saúl is engaging and compassionate, but the matches are where the entire film comes to life. ![]() Williams’ direction takes two distinct styles for the film, shuffling between a softer approach to Saúl’s introspective puzzling through his inner life, and the explosive, hard-hitting fun of the ring. In Roger Ross Williams’ triumphant narrative feature debut Cassandro, such a star rises in the shape of certified charmer Gael García Bernal playing Saúl Armendáriz, better known as real-life luchador Cassandro, the exótico who first toppled the hierarchy of heterosexuality in 1980s lucha libre wrestling. If he believes in his own freedom fiercely enough, maybe everyone else will, too. The crueler they are, the higher he goes, buoyed by the sheer determination that his own star will shine so brightly that others may as well revel in his light. Whether it’s homophobia, abandonment or grief, his approach remains the same: Use his opponent as a ladder. In a dark stadium, an empty alleyway, a trashed and red-washed hotel room, a slight wrestler feels the weight of the odds stacked against him. Cassandro Release Date: SeptemDirector: Roger Ross Williams Stars: Gael García Bernal, Roberta Colindrez, Perla De La Rosa, Joaquín Cosío, Raúl Castillo Rating: R Runtime: 107 minutes Moss’ creation is more than a sentient pile of parts with a fresh coat of mortuary makeup: It’s a savvy, gross, black-hearted gem with a humanity all its own.- Jacob Ollerĩ. Who couldn’t imagine Frankenstein’s creation moaning in displeasure if its Cocomelon got turned off? While the film starts relying on a few contrivances after a solid set-up-its faith in itself wavering a bit between its great premise and banger of a conclusion- Birth/Rebirth is a clever, tight little horror that will leave sickos (like me) smiling and shaking our heads at Moss’ bravado. On the lighter side, Birth/Rebirth draws funny connections between the undead and children in general. They might not inherently be playing God like Herr Doktor, but they’re certainly meddling with the stuff of life-and once you have some power over that, it’s gotta be hard to sit by and do nothing with it. The film is a sharp comment on hospital workaholics who, either through ego, altruism or a mix of both, can’t stop themselves from bringing it home with them. From this working relationship raising a kid (from the dead), Birth/Rebirth nurtures all sorts of amusing, icky insight. As the two crash together, jammed into a single apartment-laboratory when they’re not taking shifts at their hospital, they become a wry reminder that a family can look like anything: Even two women trying to bring an elementary schooler back to life. Just the untimely death and untimelier resurrection of Celie’s young daughter Lila (A.J. Put your fan-fiction aside: Mad scientist/forensic pathologist Rose (Marin Ireland) and loving mother/maternity nurse Celie (Judy Reyes) don’t need any nudging to forge their lives together. With dark irreverence, their transposition is a bolt of lightning into the undead subgenre that’s tight script keeps the two-hander as fresh as the day it was buried. O’Brien imagine a sharp, modern version of this best-case scenario (at least, until its own problems come to life) with the horror Birth/Rebirth. Frankenstein and Igor, and they became the platonic parents of a beautiful, bouncing, (reanimated) baby Monster? Director Laura Moss and their co-writer Brendan J. Birth/Rebirth Release Date: AugDirector: Laura Moss Rating: R Runtime: 98 minutes Regardless of how you watch them, they deserve to be watched-from tiny international dramas to blockbuster action films to auteurist awards favorites.Ĭheck out the 10 best new movies movies right now:ġ0. Some, thankfully, are cheaply and easily available to check out from your living room couch or your bedroom laptop. Some may have you weighing whether it’s worth it to brave the theater. This list is composed of the best new movies, updated every week, regardless of how they’re available. Sure, the theatrical experience claims plenty of worthy films, but with on-demand video rental and the overwhelming number of streaming options-two areas where indie and arthouse cinema have been thriving as theaters shove them aside for more and more Marvel movies-alternative viewing methods bear consideration if you’re after a comprehensive list of the best new fare. When searching for the latest and greatest cinematic offerings, the shifting distribution landscape makes one thing abundantly clear: No matter how badly we’d like for the big screen to be the place for the best movies, it’s simply not the case.
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