No
(15) 130 minutes
★★★★★
Jordan Peele returns to form in his brilliant and awe-inspiring third film as director, arguably taking audiences on a thrilling ride.
Reunited with Get Out star Daniel Kaluuya, Peele is a western sci-fi story that focuses on two brothers who run the Hollywood horse racing business started by their recently deceased father, Otis. Keith David) is in a remote desert area north of Los Angeles.
Kaluuya and Keke Palmer are doing great as siblings to his OJ and Em. They are very opposites, and it's the relationship between chalk and cheese that makes for an interesting combination.
Wicked Beauty
As a person, OJ is a somewhat introverted and hard-working man who inserts heavy meaning into his little speech and pensive expression when a suspicious flying object appears in the sky.
Hoping to capitalize on their cultural obsession with UFOs, the brothers plan to capture footage of ominous visitors with the help of electronics store employee Angel (Brandon Perlea). but soon realized they weren't. Only locals hoping to profit from this alien phenomenon.
No, definitely a film that is enamored with the power of his image on the screen.
The visual and sound effects are breathtaking, with ominous beauty signaling the emergence of an otherworldly threat, but as with all of Peele's films, he is clearly
No, a nod to Sidney Poitier's 1972 film Buck and the Preacher, and another historical link between the first move. By creating, it reminds audiences that black cowboys were, and will continue to be, part of the Western cultural landscape. An image of a black horseman to the brothers vying for these horses.
But for all these deeply pensive references and serious investigations of society and culture, Peele never forgets his comic origins.
The script's sharp humor, visual gags, and clever delivery of dialogue provide hilarious moments of relief in the terrifying tension of this overarching predatory threat.
The summer blockbuster is back, baby.
I'm about to put myself in danger with a strap on.
Eiffel
(15) 108 minutes
★★☆☆☆
How Paris' most famous monument, the Eiffel Tower, overcame trials, hardships, great resistance and technical impossibilities in 1889 to become one of the most famous construction landmarks in the world. The true story of what happened should be the focus of this blockbuster biopic about Gustave. Eiffel, the genius behind the building.
Instead, the creators center the story around Gustave (the great Romain Duris) and his invented mistress Adrian (Mackie of Emmasex Education).
The flimsy reasoning behind this, which seems to be based on Adrian's 'A' being the same shape as the Eiffel Tower, is a reflection of how the tower was. The truly fascinating history behind what was designed and built is left to the sidelines for almost two hours to glimpse.
It's all beautifully lit and staged, and the visuals are lovely, but a good cast is worth much more than this hammy style and material script.
} Unlike the iconic towers that still dominate the Paris skyline, the Eiffel structure does not stand.
Where's Anne Frank?
(PG) 99 minutes
★★★☆☆
This beautiful feature film directed by Ari Folman An animated Holocaust tells the true story of Anne Frank, a Jewish teenager who lost his life in the Holocaust through the eyes of Kitty, the diarist's flame-haired fictional friend.
Voiced by Emily Carey, Kitty is brought to life from the pages of his diary and finds herself in modern-day Amsterdam, unaware of the tragic fate that befell Anne and her family. notice.
Kitty takes the diary with him, prompting the police to search, and in the process Kitty embarks on a journey to find his friends.
In doing so, flashbacks unfold the story of Anne's devastating ending, but also create parallels with the modern-day refugees Kitty encounters, living in Europe today.
The format is a creative way to tell stories to a younger audience, informative and engaging without patronizing the target age group or modern setting. It works well to make it relevant and the references ensure it's relevant.
But sometimes the dialogue feels like a sermon, and the animation gets lost in the final closing scene, giving a weak ending that doesn't deserve what lies ahead.
