The holiday movie season has already begun, and the new Disney family is offering the Encanto and Gucci House cinemas, starring Lada Gaga.
We’ll take a look at some of the featured suggestions, including the Thanksgiving-themed Dark Hours People and The Boy Called Christmas, a holiday tale created by Netflix.
Here’s the roundup.
Gucci House: The first 30 minutes of Ridley Scott’s chaotic epic depicting the fall of the Gucci fashion empire is tailor-made for her grand cast, especially Lady Gaga. The A Star Is Born actor takes over the screen the moment she appears in a tight skirt and shows off her athletic form with a crude Italian accent. She went too far in directing Jackie Collins to portray Patricia Reggiani, an Italian with meager means who relies on the weak but handsome Maurizio Gucci (Adam Driver), the heir to his family’s fashion dynasty, if he can stop being angry. away from daddy (Jeremy Irons, serious mistake). There is a cute meeting scene between Patricia and Maurizio, which leads to an insane sex scene and then meeting the eccentric family members. Things are good. It then turns into an ah-inducing mess, with characters turning into assholes without any notice and scenes bordering on laughter. The film’s dull look doesn’t help either. Al Pacino shows up to play his role as Maurizio’s uncle, Aldo, and he’s okay. The worst performance belongs to Jared Leto, who cannot be identified as Aldo Paolo’s talentless son. Leto resorts to offensive Italian caricature and stops the film.
While some lewd details and intriguing characters appear here, including Salma Hayek as the psychic that Patricia relies on, “Gucci” becomes increasingly confused and unsure of who he wants to be. Is this a pathetic guilty pleasure? A cautionary tale about the dangers of greed and blind ambition? Who knows? By the time it reaches its tortured and inept finale, House of Gucci has long given way to its awkward, fragmented family theatrics and awkward tonal shifts. Gaga and Driver deserve the best. It would make a streaming series like this better. As it is, this is a stuffed turkey. Details: 1½ stars out of 4; in cinemas 24 nov.
“Come on, come on”: The latest favorite family drama of Berkeley-born Mike Mills is the metaphysical hug. It’s about a radio journalist (Joaquin Phoenix, revealing his vulnerable side) caring for a precocious nephew (Woody Norman in one of the best children’s plays you’ll ever see) while his sister (Gaby Hoffmann) rides to Oakland to take care of the boy’s troubled dad (Scoot McNairy). Squeezing out a handkerchief, you will want to call and make peace with someone in your life. It’s the perfect Thanksgiving movie, filled with delicate observations of human bonds and human weakness. Details: 4 stars; in cinemas 24 nov.
“People”: While Gucci slaps all over the melodramatic map, playwright Stephen Karam’s adaptation of his own drama that defeated Tony keeps things focused, steady, and solid. Situated all the way around a single pressure cooker of a family’s Thanksgiving dinner in a dilapidated, barely furnished Manhattan apartment, it removes additional portions of family disharmony and dysfunction. Karam’s play / script sets an ominous, claustrophobic tone that escalates tensions as members of the Blake family (played by Richard Jenkins, Jane Houdishell, Amy Schumer, June Sguibb) gather around a meager table set by Brigid’s daughter (Beanie Feldstein). ) and her boyfriend Richard (Steven Yoon). As the night drags on, we learn why these characters are acting so strange. It’s hardly cheap, but it’s beautifully written, well executed – especially Houdisell as a mom – and will remain brain-stained as if it were red wine spilled on a white tablecloth. Details: 3½ stars; in cinemas 24 nov.
“The Unforgivable”: Sandra Bullock plays the harsh role of Ruth, a fresh out of prison, in Nora Fingscheid’s harsh study / thriller. The Unforgivable, adapted from the British limited series, does not sugarcoat Ruth or her tireless quest for her younger sister (Aisling Franciosi). “Unforgivable” comes out at its best when it shows how Ruth is trying to gain a foothold in a world that does not want her to be in it. She works two jobs, gets beaten up and is of dubious interest to dubious characters. The further development of the plot seems too far-fetched, but the performances in both major and minor constitute it. Impressive is John Bernthal as Ruth’s colleague and Viola Davis and Vincent D’onofrio as the new homeowners where Ruth’s crime took place. Most of all, “Unforgivable” reminds us of what a wonderful actor Bullock is. Details: 3 stars; opens November 24 in select cinemas; available December 10th on Netflix.
“A Boy Called Christmas”: Holiday movies tend to be fun, learned, and forgettable. The situation is different with the film adaptation of the novel of the same name by Matt Haig, adapted by director and co-author Gil Kenan. This is because in this story about Santa Claus, the Brothers Grimm, things get a little more complicated. Rookie Henry Lowfull demonstrates wide-eyed innocence as young Nicholas, a lonely child who travels with Blitzen to find Elfhelm, the elves’ domain and the place his father (Michelle Hewisman) is trying to define. Christmas may have been too hot for young children, but Kenan’s film takes advantage of it and gives Kristen Wiig a chance to get evil and Maggie Smith peek in to tell the story. Details: 3 stars; available November 24th on Netflix.
“First Wave”: There’s no better time to watch Matthew Heineman’s immersive and powerful documentary than this Thanksgiving season. The talented documentary filmmaker gained unprecedented access to footage of medical workers at a New York hospital during the first four months of the epidemic. It records how emotionally overwhelming the pandemic was for these frontline workers and the losses they suffered. He talks about the long journey of a physiotherapist, nurses and patients. But it is in the haggard voice and presence of Dr. Natalie Doug that the film really gets to the point when she makes an anguished plea to the unmasked demonstrator during the rally following the assassination of George Floyd. Details: Three and a half stars are now playing in select cinemas.
King Richard: In this entertaining, well-played but traditionally narrated biopic about the unconventional father of tennis icons Serena and Venus Williams, actor Will Smith makes another compelling attempt to collect some acting trophies. He’s stunning in every scene of the meticulously detailed portrait of Richard Williams by Reinaldo Marcus Green, Compton’s upstart father and coach who defied the sheer whiteness of sport and faced racism in the process. Smith’s performance – both physically and mentally – is among his best, if not to say. v Best. Equally impressive are San Francisco native Onjanue Ellis as his strong-willed wife and John Bernthal as tennis coach Rick McCee. Details: 3 stars; now in theaters and on HBO Max.
“Holiday”: If you’re anxious about filling your own meals while on vacation, this bloody folk tale will curb your appetite. Director Lee Haven Jones’ Welsh folk horror parable is both dark and insane, and doesn’t just exist to piss us off. Roger Williams’ screenplay strikes the rich and shows how uncontrollable greed tramples morality and desecrates the land. It revolves around a dinner party in the minimalist, sterile home of an influential family. They invited a businessman to their table with the intention of getting more profit. But the person they hired to help with the congregation doesn’t just think about preparing delicious food. The Feast is a horror film with a specific purpose and gives a real idea of how to create a genre picture. Details: 3 stars; is now played in select cinemas and streaming on Amazon Prime, Google Play, Apple TV and Vudu.
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