What’s Love Got to Do With It? is a resoundingly mid-tier rom-com that would work a lot better if it wasn’t trying to be a rom-com.
The 94th Academy Awards took over Hollywood on Sunday, March 27, and some of the biggest names in film walked the red carpet ahead of the event.
A well constructed and dutiful adaptation of one of the greatest novels ever written, Rebecca is a film that’s damned to being eternally compared to an Oscar winning version of the same story from one of history’s most vaunted filmmakers.
Lacking the manic gusto that made its highly lucrative predecessor such a success, Mamma Mia! Here We Go Again will appeal only to ABBA devotees who want more of the same thing they got last time with somewhat diminished results.
British filmmaker Edgar Wright has always imbued his films with specific, idiosyncratic, and florid sensibilities, but his latest effort – the action comedy Baby Driver – is his most assured and intricately constructed work to date. A passion project for the filmmaker over the past decade, there aren’t any details – large or small – that haven’t been lovingly thought out and executed. It’s a masterful bit of storytelling and direction. Every inch of every frame and every seemingly inconsequential sound effect or character foible get delivered with relentless, accurate vigour. It’s writer-director Wright’s most perfect film, and it’s doubtful that any other studio films released this summed could hope to clear Baby Driver’s ludicrously high set bar.