Esteemed director Darren Aronofsky’s (Black Swan, Requiem for a Dream) latest, mother!, is a certifiably polarizing film. It features a cast of beautiful, seat-filling stars (Jennifer Lawrence and Javier Bardem among them), but what transpires on-screen is anything but their regular fare — and this is a movie that probably won’t be filling seats for much longer. In fact, the rare ‘F’ Cinemascore the film received this past weekend is something I’m almost certain Aronofsky was shooting for (how he convinced anyone to fund this I surely will never understand). Despite what the mass audience may think of it, I’m actually here to convince you to see this movie; my hope being that maybe you’ll love and respect it just as I do.
mother! forgoes an easily digestible first act. Instead, Aronofsky slowly hints to the bigger picture he has ingeniously planned, all before the film explodes into a raucous second half and unforgettable finale. Jennifer Lawrence and Javier Bardem play an unnamed couple referred to in the credits simply as “Mother” and “Him,” respectively. Together they live in a beautiful house secluded from the rest of the world. He’s a renowned poet in search of the right inspiration, while she works on crafting and finishing the perfect home.
Through four games, two console generations, and nearly a decade’s time, esteemed video game studio Naughty Dog introduced us to and concluded the story of treasure hunter Nathan Drake, an Indiana Jones-like figure who was the face of the acclaimed Uncharted series of 3rd-person action-adventure video games from 2007 to 2016. And while the main four titles in the series tracked Drake’s adventures from his humble beginnings to a satisfactory conclusion, the developers at Naughty Dog just couldn’t leave enough alone. And so, only a year after Uncharted 4: A Thief’s End, they have blessed us with their supposed final foray into the Uncharted universe with the side-story The Lost Legacy. To no one’s surprise, it’s another awesome entry in one of gaming’s greatest franchises.
Lost Legacy delivers a shorter story than the series standard, and is this time based around the adventures of Chloe Frazer and Nadine Ross, two badass women previously relegated to playing second (third? Fourth? Fifth?) fiddle to Drake in previous sequels. You take control of Chloe as she hunts down a near-mythical treasure, the Tusk of Ganesh, deep within the mountains of a war-torn India. This is a particularly personal hunt for Chloe, as the Tusk not only previously consumed her father’s life in his final years, but is also being sought after by evil insurgency leader Asav, who has the power to call upon dozens of gun-toting goons to do the digging for him. Because of this, Chloe enlists former mercenary-for-hire Nadine Ross to assist in her mission.
Every 27 years, IT comes back. Not only in the wildly popular fiction’s universe, but in our timeline as well. Many grew up with the 1990 TV miniseries adaptation of Stephen King’s acclaimed novel leaving a lasting effect, myself included. Now, 27 years later, and just like the characters in the film itself, a new generation will experience their own form of horror. This new version, courtesy of Mama director Andy Muschietti, isn’t without some glaring faults, but is largely able to sidestep these issues due to its fantastic cast of young actors, a strong script that’s both horrifying and humorous, and a profoundly unsettling take on an iconic villain.
IT opens in grand, terrifying fashion in adapting one of the story’s most iconic scenes. In the small town of Derry, children are going missing at inexplicably high rates, including middle schooler Bill Denbrough’s (Jaeden Lieberher) younger brother, Georgie (Jackson Robert Scott). On a rainy October day in 1988, a bedridden Bill helps Georgie to construct a paper boat and sends him out alone to play, unaware that this would be the last time he would see his brother alive.
Taylor Sheridan likely isn’t a name you know, but it’s becoming increasingly apparent that you should. Following-up on screenplay credits for the critically acclaimed crime dramas Sicario and Hell or High Water, Sheridan makes his excellent directorial debut adapting another of his own stories, Wind River. His first film isn’t without faults, especially in its somewhat plodding pace, but through superb acting and character development as well as a glorious final act, Wind River effectively transcends genre tropes and delivers an affecting murder-mystery that is worth seeing.
Wind River opens on a severely underdressed teenage girl hurriedly trudging through the frigid, snow-covered terrain in the mountains of Wyoming. Hours later, her frozen corpse is discovered by US Fish and Wildlife Serviceman Cory Lambert (Jeremy Renner). She was Natalie Hanson (Kelsey Chow), a Native American girl who grew up and lived near the area she was found, in the Wind River Indian Reservation. Elizabeth Olsen co-stars across Renner as Jane Banner, an FBI agent called to the scene who, immediately upon examination, rules the death a homicide.
When you’ve seen as many horror films as I have, and have been a fan of the macabre genre since a young child, then you can find yourself often hard-pressed in discovering new films that actually affect you; films that dare you to watch even when the happenings on screen force you to look away in disgust and terror. Raw, from French writer-director Julia Ducournau, is one of these films. Raw is the hardest horror film I’ve watched in years, leaving in its wake a bad, bad taste in my mouth (and certainly its main character’s mouth as well), but one very much worth enduring.
Raw centers around Justine (Garance Mallinier), a bright teenager starting her freshman year at a prestigious French veterinary school. She’s following in the footsteps of her parents, who originally met at the school, as well as her older sister, Alexia (Ella Rumpf), who simultaneously attends the school. Justine stands out among her new peers because she, alongside her entire family, practices vegetarianism, and she’s been strictly taught her entire life to absolutely never consume meat.
I’m going to be honest: I’ve never been a fan of Nintendo’s TheLegend of Zelda series. As an avid video game fan — and I’ve been one my entire life — I can understand how that’s borderline sacrilegious in this community. Nintendo as we know it today was perhaps built on Mario’s shoulders, but Link’s numerous adventures in the fantasy world of Hyrule have been arguably just as important to the company’s success as his plumber counterpart. Since the series’ first outing in 1986 on the original Nintendo Entertainment System, Zelda has been one of the most influential franchises in gaming, spawning dozens of sequels and spinoffs that have come to each of the latest and greatest* iterations of Nintendo’s many consoles over the past 31 years. (*latest, sure, but we all know Nintendo has stumbled a couple times over the years with some of their consoles. But hey, this Switch seems pretty great!)
And through each stage of my life, I’ve tried to play another entry in the Zelda series, some of which are considered the absolute best the franchise has to offer. As a child, Ocarina of Time was my introduction. Then as a teen I found the before-my-time entry A Link To The Past. And most recently, as an adult, I thought the acclaimed A Link Between Worlds would finally be the one that converted me. And although these games are widely praised as being among the greatest games of all time, I’ve never even made it halfway through any of these; at one point or another finding myself bored by the gameplay and putting it down in favor of another game. This has all changed with Nintendo’s latest offering, The Legend of Zelda: Breath of the Wild.
More than anything, what I felt walking out of Dunkirk, Christopher Nolan’s latest epic, was a strong sense of disappointment; almost assuredly the most I’ve felt for any film this year. And I’m as surprised as anyone that I felt this way about it. From the awe-inspiring trailers to the near-perfect critical acclaim, I thought I was guaranteed to love this. I was sure that Dunkirk would be what made me fall in love with Nolan’s work again, following Interstellar and The Dark Knight Rises, both of which I think are OK at best (and, to be honest, I don’t think Interstellar is much good at all). But instead, and rather unfortunately, Dunkirk continues the sad trend of middling work from one of the greatest directors alive. It makes me wonder if I’ll ever love a work of Nolan’s again, like I do his superb early films Memento, The Prestige, and The Dark Knight.
Dunkirk is set in a time of war, getting its namesake from a major battle that occurred early during World War II. It was heavily marketed as a straight war movie, but it’s really unlike any past examples — and I’m not so sure that’s a good thing. Actually, Dunkirk’s genre may be more akin to horror than that of which we typically think of as a war movie. We have characters who are at all times in danger, with no hope of defeating an unrelenting villain surrounding them. Their only hope being to possibly escape and survive the tragic event.