The debut film from online video essay editor Kogonada, the lush and cinematic “Columbus” is a true surprise beyond its academic aspirations.
Let me get out of the way the one thing you’ll read in every review of Columbus. This is the debut film of Kogonada, a Korean film critic who specializes in making thoughtful video essays for the web. Critics adore his work because he makes meticulously edited pieces of criticism that break down how a film works and why it matters.
Columbus has the same academic construction and attention to film theory that critics like myself adore. At one point it seemingly argues for the value of slow cinema, and its economical framing and lush cinematography would be catnip to anyone who has been to film school or, better yet, watched one of Kogonada’s videos. But Columbus has heart and intimacy far beyond its pretentions, and it’s one of the better surprises of the year. Continue reading “Columbus”
James McAvoy gives a remarkable multi-personality performance in M. Night Shyamalan’s tightest horror/thriller movie in years.
In “Split,” James McAvoy embodies seven different personalities within one character, he develops new mannerisms and accents for each one of them, and he even flails wildly in a possessed, near perverse dance to a Madonna song. He’s acting a lot.
But in one scene of talking to his therapist, M. Night Shyamalan drills in tight on McAvoy’s calm face and the miniscule, wavering expression in his gaze. You look into his eyes and you see fear and a whole different person trying to get out.
In “Split,” Shyamalan’s horror premise of a man who suffers from experiencing multiple personalities, 23 in all, may be a gimmick, but McAvoy’s performance isn’t. There are a few costume changes, and he makes a big swing between accents, but McAvoy never has to spaz out, and Shyamalan never has to cut for McAvoy to suggest the fascinating, dangerous tug of war going on inside his head.
In fact the mad nature of McAvoy’s character’s disorder subsumes Shyamalan’s typical need to tantalize us with a big twist. Shyamalan has gone nuts with style and psychological parables, but “Split” brings the director back to fundamental genre roots of the horror/thriller. Continue reading “Split”
Kelly Fremon Craig’s teen comedy is perfectly at home in its millennial generation and is destined to be a classic
Here’s how I know “The Edge of Seventeen” is destined to be a teenage classic: director Kelly Fremon Craig isn’t trying to be John Hughes or Wes Anderson. She isn’t trying to shove what it’s like to be a millennial today down our throats. Her film is hardly nostalgic for some golden age of culture. No one in her movie is a caricature or a stereotype. And her main character isn’t obscenely quirky and trying to be “Juno.”
“The Edge of Seventeen” may not be the best teen coming of age story in recent memory, or the funniest, but by not trying to be a callback to anything else, it’s perfectly at home in its generation.
When Nadine (Hailee Steinfeld) storms into her teacher’s empty classroom during his lunch, she collapses into one of the desks exasperated and spurts out what sounds like a prepared diatribe about how she’s going to kill herself. Her teacher takes a long pause and a deep breath before answering her. But because her teacher is actually Woody Harrelson, he slowly works into what sounds like a profound speech and life lesson before teasing her by suggesting, hey, maybe he’ll kill himself too. “It sounds relaxing.” Continue reading “The Edge of Seventeen”